6.4 Non-chord tones

Non-chord tones are notes that don't belong to the underlying harmony but add melodic interest and tension. They're essential for creating smooth voice leading and expressive melodies in Western classical music.

Understanding different types of non-chord tones, like passing tones, neighbor tones, and suspensions, helps musicians analyze and compose music. These elements contribute to the overall harmonic and melodic structure of a piece.

Types of non-chord tones

• Non-chord tones are notes that do not belong to the underlying harmony or chord structure
• They add melodic interest, harmonic tension, and smooth voice leading to a musical phrase
• Understanding the different types of non-chord tones is essential for analyzing and composing music in the Western classical tradition

Passing tones

Top images from around the web for Passing tones

• 

  Fichier:PassingTones.svg — Wikipédia View original

  Is this image relevant?

• 

  Musicianship Resources – Horton School of Music – Charleston Southern University View original

  Is this image relevant?

• 

  Fichier:PassingTones.svg — Wikipédia View original

  Is this image relevant?

• 

  Musicianship Resources – Horton School of Music – Charleston Southern University View original

  Is this image relevant?

1 of 2

Top images from around the web for Passing tones

• 

  Fichier:PassingTones.svg — Wikipédia View original

  Is this image relevant?

• 

  Musicianship Resources – Horton School of Music – Charleston Southern University View original

  Is this image relevant?

• 

  Fichier:PassingTones.svg — Wikipédia View original

  Is this image relevant?

• 

  Musicianship Resources – Horton School of Music – Charleston Southern University View original

  Is this image relevant?

1 of 2

• Occur between two chord tones and are approached and left by step in the same direction
• Typically unaccented and shorter in duration than the surrounding chord tones
• Examples:
  • In C major, a D passing tone can occur between a C and an E
  • In G major, an A passing tone can occur between a G and a B

Neighbor tones

• Occur between two instances of the same chord tone, approached by step and left by step in the opposite direction
• Can be either upper neighbors (above the chord tone) or lower neighbors (below the chord tone)
• Examples:
  • In F major, a G upper neighbor can occur between two F chord tones
  • In D minor, a C lower neighbor can occur between two D chord tones

Suspensions

• Occur when a note is held over from the previous chord, creating a temporary dissonance before resolving down by step to a chord tone
• Typically occur on strong beats and are prepared by a chord tone in the previous chord
• Examples:
  • In a C major to F major progression, the C can be suspended over the F chord before resolving down to A
  • In a G major to D major progression, the D can be suspended over the D chord before resolving down to C#

Anticipations

• Occur when a chord tone of the next chord is played early, typically on a weak beat
• Create a sense of forward motion and harmonic anticipation
• Examples:
  • In a C major to G major progression, the B of the G chord can be anticipated at the end of the C chord
  • In an A minor to E minor progression, the G of the E chord can be anticipated at the end of the A chord

Appoggiaturas

• Occur when a non-chord tone is emphasized on a strong beat, then resolves by step to a chord tone
• Often create a strong dissonance and require resolution
• Examples:
  • In a C major chord, a D appoggiatura can occur on a strong beat before resolving down to C
  • In an F major chord, a G appoggiatura can occur on a strong beat before resolving down to F

Escape tones

• Occur when a chord tone moves by step to a non-chord tone, then leaps in the opposite direction to another chord tone
• Often create a sense of "escape" from the underlying harmony
• Examples:
  • In a C major chord, the C can move by step to a D escape tone, then leap down to a G chord tone
  • In a G major chord, the D can move by step to an E escape tone, then leap down to a B chord tone

Pedal points

• Occur when a single note is sustained through multiple chord changes, often in the bass voice
• Create a sense of harmonic stability and can be used to establish a tonal center
• Examples:
  • In a C major to G major to A minor progression, a sustained C pedal point can occur in the bass
  • In a D major to B minor to E minor progression, a sustained D pedal point can occur in the bass

Function of non-chord tones

Melodic embellishment

• Non-chord tones add interest and variety to melodic lines by introducing notes outside of the basic chord structure
• They can smooth out melodic contours and create more expressive and lyrical phrases
• Examples:
  • A passing tone can connect two chord tones and create a more stepwise melodic motion
  • A neighbor tone can embellish a chord tone and add a decorative flourish to a melody

Harmonic tension vs resolution

• Non-chord tones can create temporary dissonances and harmonic tension that requires resolution to chord tones
• This tension and resolution adds a sense of forward motion and drama to the music
• Examples:
  • An appoggiatura creates a strong dissonance on a strong beat that resolves to a consonant chord tone
  • A suspension holds over a dissonant note from the previous chord that resolves down by step to a chord tone

Rhythmic placement

• The placement of non-chord tones on strong or weak beats can affect their function and impact
• Non-chord tones on strong beats (such as suspensions and appoggiaturas) tend to create more emphasis and tension
• Non-chord tones on weak beats (such as passing tones and anticipations) tend to create more smooth and subtle effects
• Examples:
  • An appoggiatura on a strong beat creates a strong dissonance and requires a clear resolution
  • A passing tone on a weak beat creates a smooth connection between chord tones without drawing too much attention

Identifying non-chord tones

Accented vs unaccented

• Non-chord tones can be either accented (occurring on strong beats) or unaccented (occurring on weak beats)
• Accented non-chord tones (such as suspensions and appoggiaturas) tend to create more tension and require clear resolution
• Unaccented non-chord tones (such as passing tones and neighbor tones) tend to create smoother and more subtle effects

Stepwise vs leapwise motion

• Non-chord tones are often approached and left by step, creating a smooth and connected melodic motion
• Some non-chord tones (such as escape tones) involve leaps, which can create a more disjunct and dramatic effect
• Examples:
  • A passing tone is approached and left by step in the same direction
  • An escape tone is approached by step but left by leap in the opposite direction

Dissonance vs consonance

• Non-chord tones often create dissonance (tension) against the underlying harmony, while chord tones create consonance (stability)
• The level of dissonance can vary depending on the type of non-chord tone and its context
• Examples:
  • An appoggiatura creates a strong dissonance that requires resolution to a consonant chord tone
  • A neighbor tone creates a mild dissonance that is quickly resolved back to the original chord tone

Chord tones vs non-chord tones

• Identifying the underlying chord structure is essential for distinguishing between chord tones and non-chord tones
• Chord tones belong to the prevailing harmony, while non-chord tones are notes outside of the chord
• Examples:
  • In a C major chord, the notes C, E, and G are chord tones, while D, F, A, and B are potential non-chord tones
  • In a G major chord, the notes G, B, and D are chord tones, while A, C, E, and F# are potential non-chord tones

Notation of non-chord tones

Accidentals

• Non-chord tones often require accidentals (sharps, flats, or naturals) to indicate their pitch alteration from the prevailing key signature
• These accidentals help to clearly identify non-chord tones and their function within the melodic and harmonic context
• Examples:
  • In a piece in C major, a passing tone between C and E might be notated as a D#
  • In a piece in G major, a neighbor tone above B might be notated as a C natural

Ties and slurs

• Ties and slurs can be used to indicate the duration and phrasing of non-chord tones
• Ties connect two notes of the same pitch, often used for suspensions to show the held-over duration
• Slurs indicate a smooth, connected phrasing and can group non-chord tones with their resolutions
• Examples:
  • A suspension might be notated with a tied note held over from the previous chord
  • A passing tone or neighbor tone might be grouped under a slur with its surrounding chord tones

Rhythmic duration

• The duration of non-chord tones can vary depending on their type and function
• Passing tones and neighbor tones are often shorter in duration than the surrounding chord tones
• Suspensions and appoggiaturas are often equal in duration to the chord tones they resolve to
• Examples:
  • A passing tone might be a quarter note between two half note chord tones
  • An appoggiatura might be a half note that resolves to a half note chord tone

Non-chord tones in composition

Voice leading

• Non-chord tones can be used to create smooth and effective voice leading between chords
• They can help to minimize large leaps and maintain a sense of melodic continuity
• Examples:
  • A passing tone can be used to connect two chord tones in different voices by step
  • A suspension can be used to create a smooth resolution from one chord to the next

Counterpoint

• Non-chord tones are an essential element of contrapuntal writing, which involves the interaction and independence of multiple melodic lines
• They can be used to create a sense of dialogue, imitation, and interplay between voices
• Examples:
  • In a two-voice invention, a passing tone in one voice can create a temporary dissonance against a chord tone in the other voice
  • In a fugue, a suspension in one voice can create a sense of tension and release against the other voices

Improvisation

• Non-chord tones can be used to add interest, variety, and expression to improvised melodic lines
• They can help to create a sense of tension and release, as well as to outline and embellish the underlying harmonic structure
• Examples:
  • In a jazz solo, a chromatic passing tone can be used to add a bluesy or outside sound to a melodic line
  • In a rock guitar solo, a neighbor tone can be used to add a decorative flourish or fill to a pentatonic scale

Historical use of non-chord tones

Baroque era

• Non-chord tones were an essential element of Baroque music, particularly in the contrapuntal writing of composers like Bach and Handel
• Suspensions, passing tones, and neighbor tones were frequently used to create a sense of forward motion and harmonic tension
• Examples:
  • In Bach's chorales, suspensions are often used to create a sense of yearning or resolution between chords
  • In Handel's fugues, passing tones and neighbor tones are used to create a sense of continuous melodic flow

Classical era

• Non-chord tones continued to be an important element of Classical era music, particularly in the melodic writing of composers like Mozart and Haydn
• Appoggiaturas and escape tones were frequently used to add expressive emphasis and decorative flourishes to melodies
• Examples:
  • In Mozart's piano sonatas, appoggiaturas are often used to create a sense of sighing or yearning in the melodic line
  • In Haydn's string quartets, escape tones are used to add a sense of playfulness or surprise to the melodic writing

Romantic era

• Non-chord tones became even more prominent and expressive in the Romantic era, as composers sought to push the boundaries of harmony and melody
• Chromatic passing tones, neighbor tones, and appoggiaturas were used to create a sense of emotional intensity and harmonic complexity
• Examples:
  • In Chopin's piano works, chromatic passing tones and neighbor tones are used to create a sense of longing and melancholy
  • In Wagner's operas, appoggiaturas and suspensions are used to create a sense of unresolved tension and yearning

20th century and beyond

• Non-chord tones continued to be an important element of 20th-century music, even as composers began to experiment with new harmonic and melodic languages
• In atonal and serial music, non-chord tones were used to create a sense of dissonance and complexity
• In jazz and popular music, non-chord tones were used to create a sense of tension and release, as well as to add expressive inflections to melodies
• Examples:
  • In Schoenberg's atonal works, non-chord tones are used to create a sense of harmonic ambiguity and instability
  • In Gershwin's jazz-influenced works, chromatic passing tones and neighbor tones are used to create a sense of bluesy expressiveness