# Roman Numeral Analysis prs

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I'm a little nublet music theory student, and we haven't covered a lot of the more complex stuff in analysis.

I have an excerpt from a piece I wrote a year ago (before I knew any theory at all), and I was wondering how to express this modulation thing I did with Roman Numerals.

The key change is from e minor to F major, by the way. I tried to include enough of the piece to make that obvious, though.

I have no real reason for wanting this done other than curiosity, but could someone analyze this for me? Prease?

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I think once you change keys like that, the root effectively changes too, so now F would be the I chord. If that's what you're asking about.

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Usually, when you modulate to a different key, you should use some chord that's common to both keys. In that case, you'd write both what it is in e minor and F major and then do every subsequent chord in F major (with F: somewhere). At least, that's how I do it.

Your progression (if you do one chord per measure) is, from what I can see, i-II-VI-V...and then you stick a I chord in and add a 13th onto the chord in the next measure (E6, if you like). To me, that seems like a strange way to get to F major.

Here's how I would analyze it.

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Usually, when you modulate to a different key, you should use some chord that's common to both keys. In that case, you'd write both what it is in e minor and F major and then do every subsequent chord in F major (with F: somewhere). At least, that's how I do it.

Your progression (if you do one chord per measure) is, from what I can see, i-II-VI-V...and then you stick a I chord in and add a 13th onto the chord in the next measure (E6, if you like). To me, that seems like a strange way to get to F major.

Here's how I would analyze it.

Very strange. It sounds cool after a minute and a half of e minor though.

Oh, and Finale made a mistake. Measure 9 is an A major chord. I don't know if that makes it workable.

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Ahh, I wasn't thinking. A major is a little odd in the key of F, though, since it's III. iii is already a weak chord in a major key, and making it major, I think, sounds a bit strange.

If you like it, though, go ahead and use it. I'm just speaking from my own limited knowledge and experience.

Did you write this by ear when you had very little music theory knowledge?

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In that case, you'd write both what it is in e minor and F major and then do every subsequent chord in F major (with F: somewhere). At least, that's how I do it.

The second system is definately in D minor, not F major. Even though the root is F, the chord could simply be a first-inversion D minor 7th chord. Typically it's the cadence that plays a big role in determining key, which in this case ends in D minor. Like you said, A major doesn't make much sense when in F major, but makes perfect sense in D minor.

Your progression (if you do one chord per measure) is, from what I can see, i-II-VI-V...

D major when in E minor is VII, not II.

Also, the E major chord in measures 5 and 6 is not a pivot chord in the classical sense, even though the correct leading tone is present (C#). If you wanted a true modulation, you'd lower the G# to G to create a tritone between C# and G, and then lower the B to Bb to create a nice first-inversion diminished 7th that slides to the first-inversion D minor chord.

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The second system is definately in D minor, not F major. Even though the root is F, the chord could simply be a first-inversion D minor 7th chord. Typically it's the cadence that plays a big role in determining key, which in this case ends in D minor. Like you said, A major doesn't make much sense when in F major, but makes perfect sense in D minor.

Ahh...I was thinking F6, not Dm7. Right, a C# makes perfect sense now.

D major when in E minor is VII, not II.

Oh right, my bad. Was careless.

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d minor makes sense, but the melody after that (you can see the first measure of it) is very clearly in F major. I'd upload an mp3 or the sheet music for you guys, but I'm leaving.

So with the Bb chord it changes from dm to FM then?

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