The analysis project is entirely based on the piece of music included on the worksheet. After downloading and printing it, you will notice that there are a number of lines, brackets, numbers, and other indications scattered around the piece. Here’s what it’s all about…
1. You will find the project more manageable if you get the piece pretty firmly “in your head” first. I have included a MIDI recording of the piece with all the other project files, and I would strongly encourage you to listen to it, while reading through the music, at least a few times before you even think about starting the project.
2. On the worksheet itself, the only things you need to write are (i) the key in which the piece is written, and (ii) the Roman numerals that represent ***only*** the chords with lines underneath them within the key of the piece.
3. For the key:
- Remember that a key signature gives us two options – major or minor. There are a LOT of clues in this piece to help you decide which one it is. There is only one correct answer – the piece is absolutely in either the major key OR the minor key implied by the key signature, case closed – so consider this carefully. (Here’s where listening will help, too!)
- When you write the key (at the beginning of the piece, where you see the line and the word “Key:” next to it), use the shorthand method we’ve discussed – i.e., if it’s major, write the key as a capital letter (plus accidental if applicable); if it’s minor, write the key as a lowercase letter (plus accidental if applicable).
4. For the Roman numerals:
- You should begin by reducing each chord to its smallest root-position form. The blank manuscript paper is provided for this purpose.
- When reducing the chords, make sure you are only accounting for notes at the beginning of each beat. For example, in the second beat of the third complete measure, one of the voices moves before the beat is over; don’t worry about the note it moves to – only the note that’s sounding at the beginning of the beat with the other notes.
- At least one of the chords is incomplete (i.e., missing a note). One of the questions in the online test will help you figure out what’s going on here; don’t let it bog you down.
- Remember that you will ONLY analyze the chords with small lines underneath them. (So, like, DON’T try to analyze the chords in the second half of the measure after the repeat bar, or ANY of the chords after the “A tempo” indication.)
- Once you’ve got a handle on the chord reductions, then work out the Roman numerals, following the procedures outlined in Module 11 – determining which scale degree in the given key is the root of each chord, then using the appropriate Roman numeral (capital or lowercase, including the degree symbol if the chord is diminished).
- For any seventh chords you encounter, (i) they’ll be in root position, and (ii) remember that they will not require you to add any special symbols – just the applicable Roman numeral for the basic triad plus the superscript numeral 7.
- After you’ve worked all that out on your scratch paper, write the Roman numerals on the worksheet.

The analysis project is entirely based on the piece of music includ...