Non-harmonic+Tones,+Melodic+Composition

April 5: Listened to why music matterns, took notes on non chord tones and nonharmonic tones.


 * __NON CHORD TONES EXPLAINED:__**

Some melody notes do not fit into the chords...they are called passing tones if approached by step and left by step in the same direction


 * __NONHARMONIC TONES:__**

Nonharmonic tones (or non-chod tones) are notes that do not belong in a certain chord...a step is equal to an interval of a generic second...a skip is equal to an interval of a generic third or more...a passing tone is approached by step and then continues by step in the same direction (if occurs with the second chord, instead of in the middle of the two chords, it is called an accented passing tone)...a neighboring tone is approached by step and then returns by step to the original note (if it occurs with the second chord, it is called an accented neighboring tone)...an escape tone is approached by step and the skips in the opposite direction (note accented, they occur in between the two chords)...an appoggiatura is approached by skip and then steps in the opposite direction (they are accented, they occur with the second chord)...an anticipation is approached by step and then remains the same (it is basically a note of the second chord played early, not accented)...a retardation keeps a note the same and then steps upward (accented)...a suspension keeps a note the same and then steps downward (accented)...changing tones use two nonharmonic tones in succession, the first nonharmonic tone is approached by step and then skips in the opposite direction to the second nonharmonic tone, the second nonharmonic tone then resolves by step (sometimes called double neighboring tones or a neighbor group)

//cambiata// || n.gr or c.t. || Step || (two notes: one above and one below chord tone) || Melodic ||
 * ~ ==Classification of Non-Chord Tones== ||
 * **Non-Chord**
 * Tone Name** || **(symbol)** || **Approached**
 * by** || **Resolves by** || **Type** ||
 * **Passing Tone ** || pt || Step || Step in same direction || Melodic ||
 * **Neighboring Tone ** || nt || Step || Step in opposite direction || Melodic ||
 * **Neighbor group or Changing Tones **
 * **Appoggiatura ** || app || Leap || Step || Melodic ||
 * **Escape Tone ** || et || Step || Leap in opposite direction || Melodic ||
 * **Suspension ** || sus || Same tone || Step down || Harmonic ||
 * **Retardation ** || r || Same tone || Step up || Harmonic ||
 * **Anticipation ** || ant || Step or Leap || Same tone as following note || Harmonic ||
 * **Pedal Point ** || ped || (none) || (suspension of the same tone throughout) || Harmonic ||

Passing Tones



 * Passing tones** allow smooth, scale-wise motion in tonal music by "filling-in" the space between two primary notes. These primary notes are usually a third apart, with the passing tone being the diatonic scale degree in between. However, other intervals may also have passing tones between them. Two or more passing tones might be used to smooth over a leap of a fourth, or a single, chromatic passing tone may be used to strengthen the movement of a major second. Passing tones are among the most common and frequently used NCTs.

Neighboring Tones



 * Neighbor tones** are notes one scale degree above or below the primary tone and are used to provide rhythmic interest between common tones. Chromatic neighboring tones are frequently used because of the strong half-step resolution they possess.

Suspensions


A **suspension** holds a consonant chord tone beyond the chord to which it belongs and into the next chord before "dropping" down a step to resolve. A Suspension has three parts: a //preparation// (the initial, consonant attack), a //suspension// (when the chord changes, but the suspended note doesn't), and a//resolution// when the suspension proceeds down to the consonant chord tone a second below.) When several suspensions occur in a row, they are referred to as a //chain of suspensions// . Example 1b has an example of this in the 3rd complete measure.



Retardation


A **Retardation** is similar to a suspension except that the resolution is **up** a step, not down. It also has a //preparation// (the initial, consonant attack), a suspension (when the chord changes, but the suspended note doesn't), and a //resolution// when the suspension proceeds up a second to the consonant chord tone.) Unlike suspensions, retardations seldom occur one after another in a chain.

Appoggiatura


An **Appoggiatura** has an effect similar to a suspension without a preparation. It is a NCT occurring on the beat (accented) and resolves down a step. It is not, however, held over from the previous note, but usually is approached by an upward leap. This expressive type of NCT is frequently found in music of the Romantic period, due to its powerful "yearning" to resolve.



Escape Tones



 * Escape tones** "escape" from the harmony by step, then leap in the opposite direction to freedom in the next chord. In this manner, they are a type of reverse appoggiatura . Chromatic escape tones are rarely found due to the non-stepwise resolution.

Neighbor Group Tones



 * Neighbor Group Tones** (sometimes referred to as changing tones) consist of //two// notes: one a scale degree above and one a scale degree below the primary tone. Like neighboring tones, they are used to provide rhythmic interest between common tones. In this type of NCT, either of the two neighboring tones may come first and is followed by the other before resolving back to the initial tone from which they left.

Anticipation


As the name would suggest, an **Anticipation** is a note that just couldn't wait for the next chord and sounds early. It is approached by either a step or a leap from a consonant note to the dissonance, then usually resolves by step. When resolved by a leap, it is often referred to as a //free anticipation//.

Pedal Point


A **Pedal Point** is unique among NCTs in that begins on a consonance, sustains (or repeats) through another chord as a dissonance until the harmony, not the NCT, resolves back to a consonance. Often used in the bass as a device to strengthen a final cadence, a pedal point has a strong tonal effect, "pulling" the harmony back to its root. When a pedal point occurs in a voice other than the bass, it is usually referred to as an //inverted pedal point//.

__**STUDY GUIDE CHART FOR NHT:**__



__**NHT HANDOUT.PDF:**__

@http://musicvault.wikispaces.com/file/view/NHT%20Handout.pdf

__**CHART PDFs:**__

[|Non Harmonic Tone Chart Part 1.pdf]

<span style="font-family: 'Lucida Grande',Arial,sans-serif; line-height: normal;">[|Non Harmonic Tone Chart Part 2.pdf]

__**ANOTHER LOOK AT NHT:**__

http://bbamusic.wikispaces.com/Another+Look+at+NHT