Nonchord tone - Knowledge (XXG)

793: 705: 1036: 33: 731: 823: 757: 183: 912: 519: 372: 625: 598: 555: 443: 973: 867: 408: 1500: 1370: 899:(CT) are two successive nonharmonic tones. A chord tone steps to a nonchord tone which skips to another nonchord tone which leads by step to a chord tone, often the same chord tone. They may imply neighboring tones with a missing or implied note in the middle. Also called 232:

are pitches that sound along with a chord but are not chord pitches." For example, if an excerpt from a piece of music implies or uses a C-major chord, then the notes C, E and G are members of that chord, while any other note played at that time (e.g., notes such as

159:

played with a C chord would be considered a chord tone if the chord were analyzed as C. In European classical music, "he greater use of dissonance from period to period as a result of the dialectic of linear/vertical forces led to gradual normalization of

460:

In practice and analysis, neighboring tones are sometimes differentiated depending upon whether or not they are lower or higher than the chord tones surrounding them. A neighboring tone that is a step higher than the surrounding chord tones is called an

672:) occurs when the harmony shifts from one chord to another, but one or more notes of the first chord (the preparation) are either temporarily held over into or are played again against the second chord (against which they are nonchord tones called the 549:

is a nonchord tone prepared by a chord tone a step above or below it and resolved by continuing in the same direction stepwise to the next chord tone (which is either part of the same chord or of the next chord in the harmonic progression).

691:

and (2) the interval between the resolution and the bass note. The most common suspensions are 4–3 suspension, 7–6 suspension, or 9–8 suspension. Note that except for the 9–8 suspensions, the numbers are typically referred to using the

797: 366:

and then remains the same. It is basically a note of the second chord played early. In the example below, the dissonant B in bar 1 is approached by step and resolves when that same pitch becomes a chord tone in bar 2.

144:

Over time, some musical styles assimilated chord types outside of the common-practice style. In these chords, tones that might normally be considered nonchord tones are viewed as chord tones, such as the seventh of a

344:

and are thus either accented or unaccented nonchord tones. They are also distinguished by their direction of approach and departure and the voice or voices in which they occur and the number of notes they contain.

650:

Endeavor, moreover, to introduce suspensions now in this voice, now in that, for it is incredible how much grace the melody acquires by this means. And every note which has a special function is rendered audible

798: 438:(AUX) is a nonchord tone that passes stepwise from a chord tone directly above or below it (which frequently causes the NT to create dissonance with the chord) and resolves to the same chord tone: 514:

is a particular type of unaccented incomplete neighbor tone that is approached stepwise from a chord tone and resolved by a skip in the opposite direction back to the harmony.

1402: 818:(APP) is a type of accented incomplete neighbor tone approached skip-wise from one chord tone and resolved stepwise to another chord tone ("overshooting" the chord tone). 1202: 700:. If the bass note is suspended, then the interval is calculated between the bass and the part that is most dissonant with it, often resulting in a 2–3 suspension. 1395: 1215: 1173: 1151: 1119: 220:

Chord and nonchord tones are defined by their membership (or lack of membership) in a chord: "The pitches which make up a chord are called

799: 1388: 1300: 956:, which is held through a series of chord changes. The pedal point is almost always in the lowest voice (the term originates from 1039: 976: 411: 340:

Nonchord tones are categorized by how they are used. The most important distinction is whether they occur on a strong or weak

186: 1344: 696:, so for instance, if the intervals are actually an 11th and a 10th (the first example below), one would typically call it a 266:

to a chord tone in conventional ways. If the note fails to resolve until the next change of harmony, it may instead create a

620:

A neighbour tone is where there is a step up or down from a note (or chord tone) and then move back to the original note.

915: 870: 826: 760: 734: 708: 628: 601: 558: 522: 446: 375: 36: 1624: 783: 1197: 722:

Suspensions must resolve downwards. If a tied note is prepared like a suspension but resolves upwards, it is called a

282:. Augmented and diminished intervals are also considered dissonant, and all nonharmonic tones are measured from the 1411: 1374: 322: 255: 1101:, vol. 66, no. 1, (September 1979), pp. 69–73. Published by: MENC: The National Association for Music Education. 1112:

Mel Bay Creative Keyboard's Deluxe Encyclopedia of Piano Chords: A Complete Study of Chords and How to Use Them

289:

Nonharmonic tones generally occur in a pattern of three pitches, of which the nonharmonic tone is the center:

1619: 1598: 1489: 1097: 848:

notes are bass notes that are not a member of the chord below which they are written. Examples include the

1000: 111: 1064: 1024: 1042: 979: 414: 189: 1207: 676:) before resolving downwards to a chord tone by step (the resolution). The whole process is called a 498:

is a somewhat broader category, including all nonchord tones approached from the main note by step.

172:; each additional non-chord tone above the foundational triad became frozen into the chordal mass." 1477: 314: 208: 146: 54: 1482: 918: 873: 858: 829: 763: 737: 711: 631: 604: 561: 525: 449: 378: 330: 263: 212: 39: 1350: 1340: 1296: 1211: 1169: 1147: 1115: 1028: 779: 656: 478: 275: 107: 1023:. The example below shows chromatic nonharmonic tones (in red) in the first four measures of 1447: 1432: 1422: 1288: 1059: 953: 684: 483: 259: 169: 853: 693: 115: 1529: 1467: 1020: 895: 274:. While theoretically in a three-note chord, there are nine possible nonchord tones in 271: 165: 1275:

Lawrence Kramer. "Fin-de-siècle Fantasies: Elektra, Degeneration and Sexual Science",

1613: 1585: 1580: 1534: 1442: 1332: 1193: 957: 949: 849: 286:, or lowest note sounding in the chord except in the case of nonharmonic bass tones. 267: 123: 95: 469:

while a neighboring tone that is a step lower than the surrounding chord tones is a

1570: 1565: 1452: 964:. It may also be between the upper and lower voices, in which case it is called an 814: 775: 363: 341: 244: 138: 83: 796: 1544: 1539: 1524: 1519: 1472: 1004: 936: 279: 161: 58: 1427: 749: 391: 150: 103: 1380: 1354: 688: 488: 400: 283: 240: 17: 1369: 1462: 1008: 119: 50: 1232: 487:, some authors reserve the term "neighbor note" to the lower neighbor a 137:

depending on whether the dissonance occurs on an accented or unaccented

1575: 1437: 1095:"Debussy and the Crisis of Tonality", p. 72. Author(s): Roland Nadeau. 99: 110:

chord. Non-chord tones are most often discussed in the context of the

1549: 1514: 200: 960:

playing), but it may be in an upper voice; then it may be called an

87: 752:

or double eighth notes, the second being a lower neighbor tone.

91: 1384: 683:

Suspensions may be further described with two numbers: (1) the

852:. An example of a nonharmonic bass from the third movement of 593:

A tone that sits between two chord tones and is between them.

572:

Where two nonchord tones are before the resolution they are

278:, in practice nonchord tones are usually in the prevailing 228:." They are also defined by the time at which they sound: " 1041: