Group 2

khashayar amri Sure, maybe just the first page of Prokofiev? Roman numeral analysis can only go so far in Prokofiev, but I think it's worth a shot. Meanwhile, Beethoven:

• Bar 2: It's worth circling the A-flat non chord tone. It's actually a 7-6 suspension, "held over" from bar 1, although Beethoven repeats the notes. Do you see it/ hear it?
• Also, when you write V (this computer font doesn't do it), you should use the lines indicating that it's capital, like you do for I. Otherwise it looks like it could be minor v.
• Bar 3: You should indicate the inversion here. Even though the bass comes after the downbeat, this is definitely a I6 chord. It's a common bass progression to go sd1-2-3 with I-V4/3-I6 over top.
• Bar 4: Note the accented passing tone/appoggiature in the soprano.
• Bar 5: Capital IV6. It's major.
• Bar 6: Beat 2, I think that V4/2 is implied there, but technically we get a vii6/4 chord. Also, indicate the inversion of the I chord on beat 3.
• Bar7: beat 2 is a not V. It's actually viiº7, which has the chromatic F-natural, borrowed from the parallel minor (the ghastly A-flat minor, which is the key of the funeral march movement).
• Bar 8: Note the chromatic lower neighbor/appoggiatura. They're important to the music, so it's worth circling/labeling them.
• Bar 8: It's worth identifying your cadence points, which define the boundaries of phrases (which is essential to playing this music with fluency and direction). This is a Half Cadence (pausing on V), so you can write HC.
• 9-16 is mostly repeated. Check against the opening bars, but ends in a "Perfect Authentic Cadence" (PAC), which goes V7-I with soprano using scale degrees 2-1 and bass 5-1.
• Bars 1-16 are what's known as a "parallel period." Two 8-bar phrases that begin the same way (in this case, with rhythmic decoration the second time), but end in different places (HC vs PAC).
• Bar 17-18: It's worth marking the anticipation tone (F) on the pick up in bar 16. V/ii is correct, but again, the non chord tones are worth noting. Same with 19-20.
• Bars 21-24: Nice work.
• Bar 25: Good! It's a cadential 6/4, which is properly identified as a decorated V. But just writing "V7" and not noting the cadential 6/4 is misleading. You should write 6/4 - 7/5/3, figured bass style, over the V, to be really precise.

It's worth looking at the phrase structure of this theme now. Why is it 34 instead of 32? Where are the "extra" bars, and how might this inform your interpretation?

Ben Laude sorry, didn't quite make it, the timing is very challenging for where I am  

Natalie Peh That's okay! It foolishly didn't record it, but I will be recording a call with Eric Wen tomorrow and posting here.

Ben Laude Thanks, Ben, really appreciate it. 

Michael Palmer Some feedback on your Chopin analysis!

• First of all, it's best to write roman numerals under the staff you're analyzing. Harmony grows from the bass, so it's good mental reinforcement for the labels to live down there by the bass line.
• Bar 1: you don't need to every write "of I" (a la, "V7/I"). It would just be "V7" if you're in I. Except, that's not quite a V7 chord, although it is functioning as a dominant that returns to the tonic. Look closely: how do you account for the C-flat? Hint: you have to borrow a roman numeral from the parallel minor (Eb minor). Look at the tones in the left hand, leaving out the E-flat (which is a pedal point). Stack them as a 7th chord. What scale degree is it built on? And how would you label it?
• Bar 1: Speaking of the "pedal point." What I mean by that is, you get an E-flat repeated in the bass in the first three beats while the harmonies change above it. That's called a "pedal point," referring to the bass pedals on an organ. This would be a "tonic pedal." It's the only way to account for that alien E-flat in the harmony of beat 2. Really, you should feel beats 1-3 as a prolonged tonic chord with a chromatic chord on beat 2 reinforcing the tonic.
• Bar 1: It's worth noting other non-chord-tones. The F on beat 3 in the soprano is an appoggiatura that resolves to Eb, but right when it resolves, we get a passing tone (D natural) in the bass of beat 4 resolving to C on the downbeat of the next bar (you should just keep roman numeral I and then circle the D and write "passing tone" - the D is not structural to that chord, and to prove it just play a blocked out chord and have an E-flat in the bass step down from E-flat to C). This sneaky overlapping dissonance/resolution is part of the magic of these opening bars.
• Bar 2/beats 1-2 is what we call a "secondary dominant." This concept will help you understand the E-natural, and also perceive the function of the chord. This is a C dominant 7th chord, which is the dominant of F minor. Aren't we in Eb major? Yes, but f minor is your ii chord, so this should be labeled "V7/ii" (spoken: "Five-Seven of Two"). In other words, it's not your primary dominant, which would lead to I, but a secondary dominant that momentarily "tonicizes" ii (make it feel like a tonic). The E-natural is the leading tone to F.
• Bar 2/beat3: This is still part of the "secondary" leading tone chords, except instead of a secondary dominant to ii, we visit the viiº7/ii (accounting for the Db as well as the E-natural). Also, note that there's a new pedal tone: F. Since it's local, and doesn't last long, you can just write viiº7/ii and then a horizontal dividing line, like a fraction, with "F" underneath.
• Bar3/beat2: What makes you think it's II? you correctly labeled VI for the next chord, so I want you to use the concept of "secondary dominant" to analyze this harmony now. It's a chord that's applied to the VI, not to our tonic.
• Bar3/beat4: Again, a secondary leading tone chord. You need to account for the A-natural and G-flat. This one's not a dominant (what was the other roman numeral we saw that functioned this way?) And, this one will be applied to V in the next bar. 
• Bar 4/beat 1: Good! But it's worth circling the 4-3 suspension. You see that Eb?
• Bars 5-8 are harmonically identical to 1-4, only embellished. It's worth studying those embellishments: what delicious non-chord tones does Chopin use, and where? There are upper and lower neighbor tones (some chromatic), passing tones, accented passing tones (which occur on strong pulses), appoggiaturas, etc.
• Bar 9: The second half of the bar is a secondary dominant. How would you label it?
• Bar 10: You got IV right, but he colors it as a minor chord on beat 2. You must account for this heartbreaking moment. It's a "borrowed chord" from the parallel minor, which features minor iv. So you can just write "iv" in lowercase.
• Bars 12: You can get these bars BUT you have to understand something first. Chopin temporarily modulates to B-flat, the dominant, in these 2 bars. You can feel this in the middle of bar 12 when he cadences on B-flat on beat 3, and it sounds like home. Write "Bb:" under bar 11, and start analyzing the harmonies in Bb. Hint: there are secondary dominants in Bb. Get out your B-flat chord scale. What is V7 in B-flat? What would V7/V and viiº7/V look like in B-flat?
• Last half of bar12, we'll save for a rainy day. But in a nut shell, it's some chromatic mingling that only Chopin could have thought of to get us back to E-flat major.

Jacqueline Good idea to check out the other threads first. It looks like it helped!

To answer your questions:

• Yes, you're definitely in G major by bar 13. In fact, he gets you there already by bar 11. And this helps answer your other question. It doesn't go to D major. Bar 10 begins as a continuation of the ii6 chord. The bass starts moving, but if you held a d minor triad in 1st inversion that whole time, it would sound correct.
• So, what about the F# at the end of bar 10? That's the note that helps us get to G major. It's the leading tone of G, i.e. the 7th scale degree. Right at the end of the bar, Mozart implies a V7 chord in G (spelled D-F#-A-C), but in first inversion (F# in the bass) and no A (the 5th of a chord is expendable). So, think of the ii chord in C (d minor) as growing an F-sharp and adding a 7th, which propels the music in to G major.
• So, Write "G:" right before the 4th beat of bar 10, and begin your analysis in G major with "V6/5" (the 6/5 indicates first inversion).
• Bar 11 Alternates between I and IV (with the IV in second inversion, called a "neighbor 6/4"chord).
• Bar 12: Don't obssess over the C-sharp. It just decorates D, it's a chromatic lower neighbor (like the D-sharp next to the E at the beginning of Fur Elise). You could also call it a chromatic passing tone down to C-natural in the second half of the bar, which is a functional note. Again, we're implying V7 (in G, remember), in 3rd inversion (the C is in the bass). Try playing a D dominant 7th chord over that C, and then resolve to the next bar and it should sound good.
• Bar 14-15: You're right, I think by accident, that bar 14 is a I chord in first inversion, because we're in G major now and that's a G major triad. Bar 15 is V7, with an appoggiatura on the downbeat in the right hand (look at the operative notes in all the Alberti Bass noodling, they're yet again: D-F#-A-C). Same in bar 17.
  
  Does this all make sense? The next passage features a sequence that would be instructive to analyze, if you'd like to move forward. Let me know if you have any questions!

Ben Laude thanks for the patient and thorough feedback. I've been working on playing the piece this evening, I will go through your notes and revisit my analysis. I have been a rock and pop player most of my professional life, and I haven't done proper harmonic analysis since I was in college. So a lot of what I was doing probably borrowed from "Nashville" charting that I am uszed to seeing. This is such a great learning experience that I know will help me in so many ways. 

Ben Laude Hi Ben, thank you so much for providing such detailed explanations. All make sense, and helped me tremendously to understand the analysis better. At this stage, I'm still not sure how to apply this Roman numeral analysis to performance. It will be great if you could share some ideas in your video tomorrow. Looking forward to it! Thank you again!