Download Tonal Harmony Chapter 12 Non Chord Tones 2

Chapter Twelve
Non Chord Tones 2
Introduction
 NCTs involving leaps,(appoggiaturas, escape tones, neighbor groups, and some anticipations)
are not rare
Appoggiaturas
 Also called incompleted neighbors
 Are accented
 Approached by ascending leap in general
 Left by descending step in general
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All appoggiaturas are approached by leap and left by step, but the sequence is not always
ascending leap followed by descending step
In general, the appoggiatura is more typical of the 19th century than the 18th
The harmonic rhythm, disjunct melody, homophonic texture, wide range and so on of the above
example gives this phrase a Romantic flavor
Escape Tones
 The reverse of that of the appoggiatura
 Approached by step
 Left by leap in the opposite direction
 Usually shorter than a beat
 Unaccented
 Diatonic
 Often used in sequence to ornament a scalar line
 The usual characteristic of the escape tone in tonal music is, short, unaccented and diatonic
The Neighbor Group
 Involves a combination of two NCTs in succession
 The first being an escape tone, the second an appoggiatura
Anticipations
 Anticipated a chord that has not yet been reached
 Moves by step or by leap to some pitch that is contained in the anticipated chord but that is not
present in the chord that precedes it
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In the Baroque period, it is uncommon to end a phrase or a composition in the minor mode with
a major tonic triad, this is known as Picardy third
Most anticipations are approached by step, but the approach by leap is not rare
Least commonly encountered variety of NCT is the anticipation approached and left by leap, this
is referred to as a free anticipation
The Pedal Point
 It is a compositional device that begins as a chord tone  becomes an NCT  finally ends up as
a chord tone gain when the harmony is in agreement with it
 Other NCTs are for decorating the harmony
 Pedal point has such strong tonal strength that the harmonies seem to be embellishing the
pedal point
 The inversions above the pedal point are not indicated in analyzing because the aural effect of
inversion is altered by the pedal, and there are no conventional symbols to represent this
alteration
 The term comes from the frequent use of the device in organ compositions
 Most frequently used at the end of an organ work, which the organist called on to sustain a
single pitch while continuing to play moving lines with the manuals (keyboards)
 Most frequently sustained pitch is the tonic or dominant (hence the term “pedal six-four
chord”
 If the tonic pitch is the pedal, the IV chord will often be used above it
 If the dominant pitch is the pedal, the I chord will often be used
 Occasionally, pedal point occur in parts other than the bass, referred as inverted pedal point
 It is possible to have pedal point contain more than one pitch, referred as double pedal point
 Most pedal points are substained, however, rearticulated pedal points is not uncommon
 In authentic cadences, the notes of V or V7 chord sometimes recur over the tonic pitch in the
bass, it is better to analyze the upper notes as suspensions and retardations, rather than as
pedal point
Special Problems in the Analysis of Nonchord Tones
1. Excessive among of chromaticism is present in the melodic line
2. When the two staves have a “displaced “ or delayed alignment
3. Unaccompanied melodies