Verified answer

Okay. You are correct in the first two chords being IV and then I.

The harmonic rhythm (rate at which chords change) is at the beat level (changing every beat).

The IV chord is in 2nd inversion (IV 64) because the lowest sounding note is the D in the bass.

The entire measure goes IV(64) - I - IV(64) - I

2nd inversion chords are not normally considered 'real' chords however, because they are unstable. I am not sure how your teacher wants you to notate this, but my prof has us put the chord in parenthesis to show that we know what it is but we understand it is not a chord with a function.

This particular (IV64) chord is called a pedal 64 (where a note is recurring, often in the bass). The Timpani line and the soprano voice line (in the score I am looking at) have pedal D's (pedal 4's) (the D (4) is being played / sung every beat and does not change). (and i am not sure if we are looking at the same key of score, so the 'D' just is the 4th of the key of A, which is the key of the version I am looking at)

You might want to write that these (IV64) chords are Pedal 64's.

(just FYI, there are other types of 64 chords such as Cadential 64's which often happen during cadential material to decorate the V or dominant chord)

You are on the right track.

Best of luck!

(and yes, when only 2 notes are present, you must infer what it wants. Always look to the Bass line, it is the most sure clue. For example in the key of A, if there was an A in bass line, you coud say that it was a I chord. a B would be V43, C# would be I6, D would be IV, E would be V, G# would be V65, etc. This is not always the case, but it VERY OFTEN is. You can also look at the chord before and after it. For example ii chords always go to dominant chords such as V, and IV can only go to dominant chords (such as V or any dominant function) or Tonic chords (such as I or VI) By using context (the clues around the chord in question) you can figure it out!)

Best of luck again, theory can be tricky sometimes!

I couldn't tell you exactly without the sheet music in front of me, but with Roman numeral analysis, octaves don't matter. Here's how I do it: write out all of the notes in the order they're written, from bass to soprano. Then write the "stacked" version of the chord and find what scale degree the root of the chord is on-- that number will be your numeral. For inversions, if the third of the "stacked" version is in the bass, the chord is in first inversion (6), regardless of where the other notes are. If the fifth is in the bass, it is in second inversion (6/4). If there are only two notes, you simply have to infer what the third note would be. For example, let's say you have an A and an E. The only stacked triad those two notes fit into is an A chord (A-C-E), so analyze the chord just as you would if it were complete.