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Roman Numeral Treatment of Suspensions

Harmony and roman numeral analysis: how to deal with chromaticism?Roman numeral notation for a suspended chord?Identifying Modulations in Roman Numeral AnalysisExtra accidents in Roman Numeral analysis in Modulation by Max RegerConsecutive fourths in melodic motionRoman Numeral Chords with SlashOrigin of Roman Numeral AnalysisRoman numeral anaysis helpRoman Numeral Analysis of Tension-Heavy JazzUsing Roman Numeral Notation with Notes in the Bass (not figured bass)

4

My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)

Or when there is melodic motion in the bass (please see below)

In the first case (both examples in C major by the way), do we simply call this a vi chord and call it a day? Or, because the D in the soprano line is sounded, is this a viadd4 chord? Similarly, in the example with the C-D motion in the bass, is this just a I chord? Or is this a one chord that becomes something else--something that I wouldn't even know how to name?

theory harmony analysis roman-numerals

share|improve this question

edited 50 mins ago

replete

3,787928

asked 57 mins ago

286642286642

1738

• 
  
  
  

  
  1
  

  
  
  
  
  
  

  
  
  Note that without a preceding measure in view, we can only say that the D in the soprano is an appoggiatura, not a suspension.
  
  – replete
  47 mins ago
  
  

  
  
  
  

add a comment | 

4

My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)

Or when there is melodic motion in the bass (please see below)

In the first case (both examples in C major by the way), do we simply call this a vi chord and call it a day? Or, because the D in the soprano line is sounded, is this a viadd4 chord? Similarly, in the example with the C-D motion in the bass, is this just a I chord? Or is this a one chord that becomes something else--something that I wouldn't even know how to name?

theory harmony analysis roman-numerals

share|improve this question

edited 50 mins ago

replete

3,787928

asked 57 mins ago

286642286642

1738

• 
  
  
  

  
  1
  

  
  
  
  
  
  

  
  
  Note that without a preceding measure in view, we can only say that the D in the soprano is an appoggiatura, not a suspension.
  
  – replete
  47 mins ago
  
  

  
  
  
  

add a comment | 

My question today stems from me having difficulty assigning a roman numeral to a chord which either has a suspension (please see below)

Or when there is melodic motion in the bass (please see below)

In the first case (both examples in C major by the way), do we simply call this a vi chord and call it a day? Or, because the D in the soprano line is sounded, is this a viadd4 chord? Similarly, in the example with the C-D motion in the bass, is this just a I chord? Or is this a one chord that becomes something else--something that I wouldn't even know how to name?

theory harmony analysis roman-numerals

share|improve this question

edited 50 mins ago

replete

3,787928

asked 57 mins ago

286642286642

1738

share|improve this question

edited 50 mins ago

replete

3,787928

asked 57 mins ago

286642286642

1738

share|improve this question

edited 50 mins ago

replete

3,787928

asked 57 mins ago

286642286642

1738

edited 50 mins ago

replete

3,787928

edited 50 mins ago

replete

3,787928

asked 57 mins ago

286642286642

1738

asked 57 mins ago

286642286642

1738

1 Answer
1

active

oldest

votes

4

Actually, without seeing the preceding measure, there are quite a couple of things that might be going on in your first example (as @replete noted in the comments).

• D is a non-chord tone and it could be a suspension, if the note D was played on the same voice on the previous measure and help for this one; you could call the chord a 'vi ^4-3', because it's the 4th of the root that is the suspension and is resolved to the chord note, the third (in this case C).




• It could be a passing tone on an accented beat, if the previous tone on the preceding measure was an E.




• It could be an appoggiatura, which is a non-chord neighbor tone that is resolved stepwise.

On your second example, the D note is simply a passing tone, which isn't notated in some way. It's not on a strong beat of the measure, so unless something else is happening on the other voices as well, there is no need to change something in your analysis. This kind of passing tone is usually used when the voice is moving stepwise, so in your example, the next note will most likely be E.

share|improve this answer

edited 30 mins ago

answered 51 mins ago

ShevliaskovicShevliaskovic

20.4k1380170

• 
  
  
  

  
  2
  

  
  
  
  
  
  

  
  
  Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
  
  – replete
  48 mins ago
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  Thank you for the concise answer! And the next note does happen to be an E :)
  
  – 286642
  47 mins ago
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  @replete you are correct; I updated my answer
  
  – Shevliaskovic
  38 mins ago
  

  
  
  
  

add a comment | 

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4

Actually, without seeing the preceding measure, there are quite a couple of things that might be going on in your first example (as @replete noted in the comments).

• D is a non-chord tone and it could be a suspension, if the note D was played on the same voice on the previous measure and help for this one; you could call the chord a 'vi ^4-3', because it's the 4th of the root that is the suspension and is resolved to the chord note, the third (in this case C).




• It could be a passing tone on an accented beat, if the previous tone on the preceding measure was an E.




• It could be an appoggiatura, which is a non-chord neighbor tone that is resolved stepwise.

On your second example, the D note is simply a passing tone, which isn't notated in some way. It's not on a strong beat of the measure, so unless something else is happening on the other voices as well, there is no need to change something in your analysis. This kind of passing tone is usually used when the voice is moving stepwise, so in your example, the next note will most likely be E.

share|improve this answer

edited 30 mins ago

answered 51 mins ago

ShevliaskovicShevliaskovic

20.4k1380170

• 
  
  
  

  
  2
  

  
  
  
  
  
  

  
  
  Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
  
  – replete
  48 mins ago
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  Thank you for the concise answer! And the next note does happen to be an E :)
  
  – 286642
  47 mins ago
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  @replete you are correct; I updated my answer
  
  – Shevliaskovic
  38 mins ago
  

  
  
  
  

add a comment | 

4

Actually, without seeing the preceding measure, there are quite a couple of things that might be going on in your first example (as @replete noted in the comments).

• D is a non-chord tone and it could be a suspension, if the note D was played on the same voice on the previous measure and help for this one; you could call the chord a 'vi ^4-3', because it's the 4th of the root that is the suspension and is resolved to the chord note, the third (in this case C).




• It could be a passing tone on an accented beat, if the previous tone on the preceding measure was an E.




• It could be an appoggiatura, which is a non-chord neighbor tone that is resolved stepwise.

On your second example, the D note is simply a passing tone, which isn't notated in some way. It's not on a strong beat of the measure, so unless something else is happening on the other voices as well, there is no need to change something in your analysis. This kind of passing tone is usually used when the voice is moving stepwise, so in your example, the next note will most likely be E.

share|improve this answer

edited 30 mins ago

answered 51 mins ago

ShevliaskovicShevliaskovic

20.4k1380170

• 
  
  
  

  
  2
  

  
  
  
  
  
  

  
  
  Perhaps worth adding that the 4-3 might be given in superscript aligned with the notes.
  
  – replete
  48 mins ago
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  Thank you for the concise answer! And the next note does happen to be an E :)
  
  – 286642
  47 mins ago
  

  
  
  
  


• 
  
  
  

  
  

  
  
  
  
  
  

  
  
  @replete you are correct; I updated my answer
  
  – Shevliaskovic
  38 mins ago
  

  
  
  
  

add a comment | 

Actually, without seeing the preceding measure, there are quite a couple of things that might be going on in your first example (as @replete noted in the comments).

• D is a non-chord tone and it could be a suspension, if the note D was played on the same voice on the previous measure and help for this one; you could call the chord a 'vi ^4-3', because it's the 4th of the root that is the suspension and is resolved to the chord note, the third (in this case C).




• It could be a passing tone on an accented beat, if the previous tone on the preceding measure was an E.




• It could be an appoggiatura, which is a non-chord neighbor tone that is resolved stepwise.

On your second example, the D note is simply a passing tone, which isn't notated in some way. It's not on a strong beat of the measure, so unless something else is happening on the other voices as well, there is no need to change something in your analysis. This kind of passing tone is usually used when the voice is moving stepwise, so in your example, the next note will most likely be E.

share|improve this answer

edited 30 mins ago

answered 51 mins ago

ShevliaskovicShevliaskovic

20.4k1380170

share|improve this answer

edited 30 mins ago

answered 51 mins ago

ShevliaskovicShevliaskovic

20.4k1380170

answered 51 mins ago

ShevliaskovicShevliaskovic

20.4k1380170

answered 51 mins ago

ShevliaskovicShevliaskovic

20.4k1380170