Tom Bergeron's Blog

The analysis of your project and of the song for the final exam must include all of these elements. Please note that the use of “U” only applies to the latter. If you can’t identify it in your project, don’t use it!

Key
• The first item in a Roman-numeral analysis is as assertion of key, in the form of an upper- or lower-case letter, followed by a colon.
Roman-numeral analysis of every chord
• If the chord is diatonic in the key, no further analysis is needed.
• If the chord is not diatonic, in addition to the proper Roman-numeral designation, the chord music be circled and an additional designation added. Use these abbreviations:
o SD (Secondary Dominant): V/V or V/ii, etc
o B (Borrowed Chord): iv, bVI, etc
o LP (Line Progression): The chord is generated by a stepwise-moving line. In the case of an LP, do not circle the entire chord symbol, but rather that component of the chord that produces the line.
o UH (Unidentified Harmony): Should you find a non-diatonic chord that doesn’t fit any of the three above descriptions, give it a Roman-numeral designation, circle it, and label it “U.”
Cadences
• Indicate with brackets or a box the cadence at the end of every section – that is, the arrival of the last chord with the completion of the melodic phrase and the chord that precedes it. Use these abbreviations:
o PAC (Perfect Authentic Cadence): V-I or V-i (NOT v-i). Both chords must be in root position, and the top voice (usually the melody) must end on the root of the I chord.
o IAC (Imperfect Authentic Cadence): V-I or V-i (NOT v-i). One or more of the requirements for a PAC is/are missing.
o PC (Plagal Cadence): IV-I or iv-i.
o HC (Half Cadence): X-V. “X” could be any chord. The V-chord could be V in the home key or a SD.
o UC (Unidentified Cadence): Does not fit any of the above definitions.
Non-Chord Tones
• Circle all notes in the melody and bass that are not members of the prevailing chord. Identify them using these abbreviations:
o P (Passing Tone): Approached by step. Resolved by step in the same direction.
o N (Neighbor Tone): Approached by step. Resolved by step in the opposite direction.
o UN (Unidentified Non-chord tone): Does not fit either of the above descriptions.
• Optional identification for extra credit:
o A (Appoggiatura): Approached by leap up. Resolved by step down. The NCT itself must be strong metrically with respect to the note of resolution.
o DN (Double Neighbor): Chord Tone-Upper Neighbor-Lower Neighbor-Chord Tone. The approach and resolution are both by step; the motion from UN to LN is a skip of a 3rd. The preparatory note (the CT before the first N) must be stronger metrically than the three succeeding notes (e.g.: The four notes comprising this complex on beats 1+2+ or 3+4+).
o DP (Double Passing Tone): Two adjacent NCTs moving stepwise filling the space between the 5th and root of a chord. For example: G-A-B-C or C-B-A-G against a C triad. Note that all motion is stepwise in the same direction. In this example, A-B (or B-A) is the DP. Same rhythmic requirement as for DN.
Harmonic Devices
• Identify types of harmonic motion as follows:
o [Arrow] Use an arrow to indicate root motion that goes forward through the circle of 5ths.
o LP (Line Progression): Circle the moving line that is driving the harmonic progression.
o SS (See-Saw): Use brackets […] to enclose a series of two chords rocking back and forth.
o [Large “T”] (Harmonic Cycle): Indicate the break points between harmonic cycles. These end/beginning points normally occur at ends/beginnings of phrases in the melody, but a single phrase or section may contain multiple harmonic cycles.