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Re: Group 2 @Nicole That's interesting. I was thinking about the C major chord as a Neapolitan, although it's not in first inversion and passes back through and E minor chord (iv in the key we're moving to),…
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Re: Group 4 @Serene Wonderful! Looking forward.
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Re: Group 4 @Aline Valade I'm glad to see you're thinking of the C major scale in terms of its two tetrachords. However, I'm not sure that will be very useful here,…
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Re: Group 3 @Robert The Chopin will be great to look at. There's so much nuance going on "under the hood" of that piece. I'd love to hear Eric Wen's take on it as well.…
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Re: Group 3 @rebecca LAM Not bad! Let me help you think through a couple of harmonies, and then you can move forward: If this were a ii chord, you'd wouldn't see a G in a prominent position above the D,…
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Re: Group 1 @Lc Oh, this will be fun! I'll take a closer look tomorrow. For that augmented chord, I wouldn't over-think it. You're right to call the A-flat an anticipation.…
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Re: Group 1 @Victor Wong I'm happy to help you with this, but as I mentioned in the video above, fugues are not the best for practicing roman numeral analysis. Instead,…
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Re: Group 1 @Christo I like your revisions! I think it's fine where you labeled notes "passing tones." Those are tricky, because they're approached by a leap, but I think they having a passing function.…
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Re: Group 1 @Maggie Very very very good. Very detailed, your formal analysis is sound, and thank you for the colors. One tiny thing: you don't need to write I6/V in bar 38. You can just write V6.…
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Re: Group 1 @Angela Most of what I said to @ALICE is relevant to you. Look for that V7/IV in bar 9. Also, you can write Pedal point under bar 9 and draw a line all the way to bar 12.…
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Re: Group 1 @ALICE Regarding the ornaments,the video @Angela posted is good: they should be quick mordents (three notes: G-F#-G) played on the beat in a single impulse.…
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Re: Group 1 @ALICE As for the F-natural in bar 9. Let's assume we're in G. Your question is, if we're still in G in bar 9 and don't move back to C until 12, then what do you call that G dominant 7th chord?…
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Re: Group 1 @ALICE It looks much better! A couple things on the analysis and then I'll address your question about m9 Bar 5 is probably best analyzed as the beginning of the modulation to G.…
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Re: Group 3 @Randi That Czerny is a good place to get familiar with analyzing harmony. It lays out the harmonies very clearly with regular arpeggiation. The Chopin is in A minor - I'm assuming this is the one…
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Re: Group 3 @Chris Griffin Fantastic. You know that Rameau was the one who basically invented the kind of music theory that led to this kind of harmonic analysis, which defines harmonies by their root (rather…
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Re: Group 2 @Terry Good. In bar 4, I would just call it V for the whole bar. Don't worry that a G and E are on stronger puleses than the F and D in beats 3 and 4. It's basically the continuation of that…
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Re: Group 4 @Derrick Wu Great. Looking forward to seeing your work! Do you want to start with the first few phrases, before it modulates?
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Re: Group 4 @Brett Miller Great! Yes, let me start with the first 16 bars and I'll return later to proceed forward. MM. 1-4 I love this opening, mostly because of the tonic pedal point and the extreme…
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Re: Group 4 @Enrique Rosano Looking forward!
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Re: Group 2 @Terry This is great, especially since you're new to analysis. Quick pro-tip, theorists will just write "C:" at the beginning of their analysis, and since roman numeral I is prolonged,…
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Re: Group 2 @Kerstin Kerstin said: The B in the 2. bar is the seventh in c sharp minor, but for me is also a passing tone to the A. You're right! It should be analyzed as a passing tone,…
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Re: Group 2 @Kari Great choice, especially for practicing roman numeral analysis. Also, it's metrically interesting, with the changes in time signature. Why don't you start with the first phrase or two and…
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Re: Group 2 @Natalie Peh Hi Natalie. Let me start with your two questions: 1) Correct. When you invert the triad, the 3rd (E) is now in the bass and the root (C) moves a 6th above it (reducing everything to…
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Re: Group 3 @Harriet Kaplan That's exciting! It will be cool to see how you approach a piano piece like this, coming from a serious cello background. Chopin Mazurkas are perfect little pieces to analyze -…
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Re: Group 3 @rebecca LAM Great. If you're brand new to analysis, let's just start with the first 4 bars (up until the scales). Plenty to discuss there, and I'd rather you dig into to shorter sections than try…
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Ben Laude

Ben_Laude

Head of Piano @ tonebase

Ann Arbor / Austin / LA

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Joined: Wed Mar 31 20:16:35 UTC 2021

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pianist, producer, teacher