{"id":655,"date":"2023-05-11T19:03:56","date_gmt":"2023-05-11T19:03:56","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/non-chord-tones\/"},"modified":"2025-08-21T17:18:57","modified_gmt":"2025-08-21T17:18:57","slug":"non-chord-tones","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/non-chord-tones\/","title":{"raw":"Non-chord tones","rendered":"Non-chord tones"},"content":{"raw":"<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 29<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nIn this chapter, we will learn:\r\n<ul>\r\n \t<li>How to identify and label [pb_glossary id=\"2863\"]non-chord tones[\/pb_glossary] in analysis<\/li>\r\n \t<li>How to add [pb_glossary id=\"2863\"]non-chord tones[\/pb_glossary] to a [pb_glossary id=\"1762\"]homorhythmic[\/pb_glossary] progression to create more interest and musical drama<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Non-chord tones\"><\/a>Non-chord tones<\/h1>\r\n<span>In our Roman numeral analysis so far, we have been disregarding notes that do not fit within a particular harmony, calling them<\/span> [pb_glossary id=\"2863\"]non-chord tones[\/pb_glossary]. Non-chord tones often have an embellishing or ornamental function and may enliven any melodic line.\r\n\r\n<span>Non-chord tones are defined by two aspects of how they are approached and resolved: (1) the direction relative to the surrounding chord tones, and (2) the type of motion (step, leap, or same note).<\/span> Figure 29\u20111 shows all of the different types of non-chord tones that may occur in tonal music and explains how each is approached and resolved.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 29\u20111. Types of non-chord tones<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-1024x887.png\" alt=\"chart showing type, abbreviation, example, approach, and resolution for the following non-chord tones: Passing Tone, Neighboring Tone, Suspension, Retardation, Anticipation, Appoggiatura, Escaped Tone, Double Neighbors, Pedal Tone\" width=\"1024\" height=\"887\" class=\"alignnone wp-image-3283 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-29.1-1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 29.1<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Suspensions\"><\/a>Suspensions<\/h1>\r\n<span>Videos T51 and T52 below will cover each type of non-chord tone listed in Figure 29.1, but first, there are some special considerations involved in using suspensions.<\/span>\r\n\r\n[pb_glossary id=\"3347\"]Suspensions[\/pb_glossary] typically occur on strong beats, delaying the resolution of the suspended note to the chord tone to which it resolves. There are four types of suspensions, which are labeled by the intervallic motion that occurs above the bass. Examples of each appear below in Figure 29\u20112. The 9-8, 7-6, and 4-3 suspensions always occur in a voice above the bass (soprano, alto, or tenor), and the 2-3 suspension always occurs in the bass voice.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 29\u20112. Suspensions<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-1024x577.png\" alt=\"image of four examples on the Grand staff: First example shows 9-8 suspension with G4, G4 (circled), F4 in treble clef and E3 and F3 in bass clef. Second example shows 4-3 suspension with G4, G4 (circled), F4 in treble clef and C-sharp3 and D3 in bass clef. Third example shows 7-6 suspension with G4, G4 (circled), F4 in treble clef and G2 and A2 in bass clef. Fourth example shows 2-3 suspension with F4 and E4 in treble clef and D3, D3 (circled), C-sharp 4 in bass clef. \" width=\"1024\" height=\"577\" class=\"alignnone wp-image-3288 size-large\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-29.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T51 Intro to non-chord tones (PT, NT, SUS) (10:03)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/3hCvbAj4EH4?si=jgWd5s3J3C_dDiG-\r\n\r\n<span>This video introduces the concept of non-chord tones, meaning embellishing tones that we have excluded in our harmonic analysis up to this point. Specific types covered in this video include the [pb_glossary id=\"3348\"]passing tone[\/pb_glossary] (PT), the [pb_glossary id=\"3350\"]neighboring tone[\/pb_glossary] (NT), and the [pb_glossary id=\"3347\"]suspension[\/pb_glossary] (SUS). This video further breaks down suspensions into four types based on the interval relation between the suspended note and the bass voice (the [pb_glossary id=\"3369\"]9-8 SUS[\/pb_glossary], the [pb_glossary id=\"3370\"]7-6 SUS[\/pb_glossary], the [pb_glossary id=\"3371\"]4-3 SUS[\/pb_glossary], and the [pb_glossary id=\"3372\"]2-3 SUS[\/pb_glossary], also known as the bass suspension). Finally, the video concludes with a demonstration of suspensions in Pergolesi's <em>Stabat Mater<\/em>.<\/span>\r\n<div class=\"textbox shaded\">Listen to the audio example featured in this video (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/2lkvuBYjflC2e11BpCzni0?si=cbc01913c5cf4e46\" target=\"_blank\" rel=\"noopener\">Spotify playlist for non-chord tones<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T52 Non-chord tones, part 2 (RET, ANT, APP, ET, DN, PED) (8:34)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/vncpMOO2Z9g?si=unwIeENFVjFRjTO1\r\n\r\n<span>This interactive video introduces the remaining non-chord tones we haven't studied yet: the [pb_glossary id=\"3353\"]retardation[\/pb_glossary] (RET), [pb_glossary id=\"3357\"]anticipation[\/pb_glossary] (ANT), [pb_glossary id=\"3359\"]appoggiatura[\/pb_glossary] (APP), [pb_glossary id=\"3361\"]escaped tone[\/pb_glossary] (ET), [pb_glossary id=\"3363\"]double neighbors[\/pb_glossary] (DN), and the [pb_glossary id=\"3365\"]pedal tone[\/pb_glossary] (PED). The video concludes with an exploration of Worksheet examples 29-1 and 29-2 and will require you to circle and label non-chord tones in the second example. If you want to work through this exercise on your own, see Exercise 29-1 below. Bonus example: hear the appoggiatura in action in a recording by Usher.<\/span>\r\n<div class=\"textbox shaded\">Listen to the audio example featured in this video (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/2lkvuBYjflC2e11BpCzni0?si=cbc01913c5cf4e46\" target=\"_blank\" rel=\"noopener\">Spotify playlist for non-chord tones<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 29-1 Identifying non-chord tones\"><\/a>EXERCISE 29-1 Identifying non-chord tones<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 29-1 Identifying non-chord tones<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nExamine the progression that appears in Worksheet example 29\u20111 and compare it to the version in Worksheet example 29\u20112, which has been activated with several non-chord tones. Circle and label all of the non-chord tones that appear in Worksheet example 29\u20112.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 29\u20111. Progression without non-chord tones<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-1024x168.png\" alt=\"image of chord progression written in four parts on Grand Staff in C minor: one, five-six-five, one, four-six, five-seven, six, one, four, one-six-four, five, uppercase one\" width=\"1024\" height=\"168\" class=\"alignnone wp-image-3299 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 29\u20112. Progression with non-chord tones<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-1024x171.png\" alt=\"image of chord progression written in four parts with added non-chord tones on Grand Staff in C minor: one, five-six-five, one, four-six, five-seven, six, one, four, one-six-four, five, uppercase one\" width=\"1024\" height=\"171\" class=\"alignnone wp-image-3303 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex29.1-Identifying-non-chord-tones.pdf\" target=\"_blank\" rel=\"noopener\">Ex29.1 Identifying non-chord tones<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 29-2 Analysis with non-chord tones\"><\/a>EXERCISE 29-2 Analysis with non-chord tones<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 29-2 Analysis with non-chord tones<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nListen to and study the following excerpts. Then complete the specified tasks that appear with each example.\r\n\r\nFor Worksheet example 29-3, provide labels for each of the circled and numbered non-chord tones on the blanks provided. For each suspension, please note the specific type (9-8, 7-6, 4-3, or 2-3 suspension).\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 29\u20113. Ludwig van Beethoven, op. 48, no. 1, \u201cBitten\u201d<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-931x1024.png\" alt=\"image of musical score with annotations. On right hand side, list of numbered notes with blanks for non-chord tone labels.\" width=\"931\" height=\"1024\" class=\"alignnone wp-image-3312 size-large\" \/><\/a>\r\n\r\nListen to this song, performed by Peter Schreier, on <a href=\"https:\/\/open.spotify.com\/track\/4sXQ5XcohkWktGhYVBLB5W?si=30fd5ace71dc4b8e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nRead an <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=6042\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text on lieder.net.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\nFor Worksheet example 29-4, provide labels for cadences and Roman numerals on the blanks provided, then circle and label all non-chord tones. Finally, answer the question that follows the excerpt regarding the form of this passage.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 29\u20114. W. A. Mozart, Symphony no. 41, mvt. 1, mm. 1\u20138<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n&nbsp;\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-1024x647.png\" alt=\"image of score\" width=\"1024\" height=\"647\" class=\"alignnone size-large wp-image-5814\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-mozart.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Salzburg Mozarteum Orchestra, conducted by Hans Graf, on <a href=\"https:\/\/open.spotify.com\/track\/0piu9wf7ZAGSeXUn9EDoA3?si=11a4478b1c564cb2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Cliff Eisen and Stanley Sadie.\r\n\r\n<\/div>\r\n<\/div>\r\nWhich of the following terms best describes the form of this passage in Worksheet example 29-4?\r\n<ol>\r\n \t<li>[pb_glossary id=\"2294\"]Parallel period[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"2296\"]Contrasting period[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"2329\"]Phrase group[\/pb_glossary]<\/li>\r\n \t<li>None of the above<\/li>\r\n<\/ol>\r\nWhy?\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/02\/Ex29.2-Analysis-with-non-chord-tones.pdf\" target=\"_blank\" rel=\"noopener\">Ex29.2 Analysis with non-chord tones<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/2lkvuBYjflC2e11BpCzni0?si=cbc01913c5cf4e46\" target=\"_blank\" rel=\"noopener\">Spotify playlist for non-chord tones<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 29-3 Adding non-chord tones\"><\/a>EXERCISE 29-3 Adding non-chord tones<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 29-3 Adding non-chord tones<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nFirst, study the progression below.\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3-1024x302.png\" alt=\"chord progression in four parts written on Grand Staff in B-flat major: one, five-four-two, one-six, five-four-three, one, one-six, five, one-six, four, one-six, one, cadential-six-four, five, one\" width=\"1024\" height=\"302\" class=\"alignnone wp-image-3337 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3.mp3\"][\/audio]\r\n\r\nNext, re-write the passage on a piece of staff paper by adding one of each of the following to alter the progression:\r\n<ul>\r\n \t<li>[pb_glossary id=\"3348\"]Passing tone[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"3357\"]Anticipation[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"3359\"]Appoggiatura[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"3353\"]Retardation[\/pb_glossary]<\/li>\r\n \t<li>[pb_glossary id=\"3371\"]4-3 suspension[\/pb_glossary]<\/li>\r\n<\/ul>\r\nUse your mind\u2019s ear or an instrument to realize the aural effect of each alteration. If you don\u2019t like how it sounds, try a different possibility until you are pleased with the result.\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex29.3-Adding-non-chord-tones.pdf\" target=\"_blank\" rel=\"noopener\">Ex29.3 Adding non-chord tones<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 29<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/NonChordTones.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson's chapter on non-chord tones<\/a>\r\n\r\n<a href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/15-nonharmonic-tones\/\" target=\"_blank\" rel=\"noopener\">Andre Mount's detailed chapter on non-chord tones<\/a>\r\n\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 29<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>In this chapter, we will learn:<\/p>\n<ul>\n<li>How to identify and label <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_2863\">non-chord tones<\/a> in analysis<\/li>\n<li>How to add <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_2863\">non-chord tones<\/a> to a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_1762\">homorhythmic<\/a> progression to create more interest and musical drama<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Non-chord tones<\/h1>\n<p><span>In our Roman numeral analysis so far, we have been disregarding notes that do not fit within a particular harmony, calling them<\/span> <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_2863\">non-chord tones<\/a>. Non-chord tones often have an embellishing or ornamental function and may enliven any melodic line.<\/p>\n<p><span>Non-chord tones are defined by two aspects of how they are approached and resolved: (1) the direction relative to the surrounding chord tones, and (2) the type of motion (step, leap, or same note).<\/span> Figure 29\u20111 shows all of the different types of non-chord tones that may occur in tonal music and explains how each is approached and resolved.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 29\u20111. Types of non-chord tones<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-1024x887.png\" alt=\"chart showing type, abbreviation, example, approach, and resolution for the following non-chord tones: Passing Tone, Neighboring Tone, Suspension, Retardation, Anticipation, Appoggiatura, Escaped Tone, Double Neighbors, Pedal Tone\" width=\"1024\" height=\"887\" class=\"alignnone wp-image-3283 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-1024x887.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-300x260.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-768x665.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-1536x1330.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-2048x1773.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-65x56.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-225x195.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.1-350x303.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-29.1-1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 29.1<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a id=\"Suspensions\"><\/a>Suspensions<\/h1>\n<p><span>Videos T51 and T52 below will cover each type of non-chord tone listed in Figure 29.1, but first, there are some special considerations involved in using suspensions.<\/span><\/p>\n<p><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3347\">Suspensions<\/a> typically occur on strong beats, delaying the resolution of the suspended note to the chord tone to which it resolves. There are four types of suspensions, which are labeled by the intervallic motion that occurs above the bass. Examples of each appear below in Figure 29\u20112. The 9-8, 7-6, and 4-3 suspensions always occur in a voice above the bass (soprano, alto, or tenor), and the 2-3 suspension always occurs in the bass voice.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 29\u20112. Suspensions<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-1024x577.png\" alt=\"image of four examples on the Grand staff: First example shows 9-8 suspension with G4, G4 (circled), F4 in treble clef and E3 and F3 in bass clef. Second example shows 4-3 suspension with G4, G4 (circled), F4 in treble clef and C-sharp3 and D3 in bass clef. Third example shows 7-6 suspension with G4, G4 (circled), F4 in treble clef and G2 and A2 in bass clef. Fourth example shows 2-3 suspension with F4 and E4 in treble clef and D3, D3 (circled), C-sharp 4 in bass clef.\" width=\"1024\" height=\"577\" class=\"alignnone wp-image-3288 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-1024x577.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-300x169.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-768x433.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-1536x865.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-2048x1154.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-65x37.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-225x127.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-29.2-350x197.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-655-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-29.2.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-29.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-29.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T51 Intro to non-chord tones (PT, NT, SUS) (10:03)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T51 Intro to Non Chord Tones PT, NT, SUS\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/3hCvbAj4EH4?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><span>This video introduces the concept of non-chord tones, meaning embellishing tones that we have excluded in our harmonic analysis up to this point. Specific types covered in this video include the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3348\">passing tone<\/a> (PT), the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3350\">neighboring tone<\/a> (NT), and the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3347\">suspension<\/a> (SUS). This video further breaks down suspensions into four types based on the interval relation between the suspended note and the bass voice (the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3369\">9-8 SUS<\/a>, the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3370\">7-6 SUS<\/a>, the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3371\">4-3 SUS<\/a>, and the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3372\">2-3 SUS<\/a>, also known as the bass suspension). Finally, the video concludes with a demonstration of suspensions in Pergolesi&#8217;s <em>Stabat Mater<\/em>.<\/span><\/p>\n<div class=\"textbox shaded\">Listen to the audio example featured in this video (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/2lkvuBYjflC2e11BpCzni0?si=cbc01913c5cf4e46\" target=\"_blank\" rel=\"noopener\">Spotify playlist for non-chord tones<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T52 Non-chord tones, part 2 (RET, ANT, APP, ET, DN, PED) (8:34)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T52 Non Chord Tones, part 2 RET, ANT, APP, ET, DN, PED\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/vncpMOO2Z9g?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><span>This interactive video introduces the remaining non-chord tones we haven&#8217;t studied yet: the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3353\">retardation<\/a> (RET), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3357\">anticipation<\/a> (ANT), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3359\">appoggiatura<\/a> (APP), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3361\">escaped tone<\/a> (ET), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3363\">double neighbors<\/a> (DN), and the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3365\">pedal tone<\/a> (PED). The video concludes with an exploration of Worksheet examples 29-1 and 29-2 and will require you to circle and label non-chord tones in the second example. If you want to work through this exercise on your own, see Exercise 29-1 below. Bonus example: hear the appoggiatura in action in a recording by Usher.<\/span><\/p>\n<div class=\"textbox shaded\">Listen to the audio example featured in this video (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/2lkvuBYjflC2e11BpCzni0?si=cbc01913c5cf4e46\" target=\"_blank\" rel=\"noopener\">Spotify playlist for non-chord tones<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 29-1 Identifying non-chord tones<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 29-1 Identifying non-chord tones<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Examine the progression that appears in Worksheet example 29\u20111 and compare it to the version in Worksheet example 29\u20112, which has been activated with several non-chord tones. Circle and label all of the non-chord tones that appear in Worksheet example 29\u20112.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 29\u20111. Progression without non-chord tones<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-1024x168.png\" alt=\"image of chord progression written in four parts on Grand Staff in C minor: one, five-six-five, one, four-six, five-seven, six, one, four, one-six-four, five, uppercase one\" width=\"1024\" height=\"168\" class=\"alignnone wp-image-3299 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-1024x168.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-300x49.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-768x126.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-1536x252.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-2048x335.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-65x11.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-225x37.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1-350x57.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-655-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 29\u20112. Progression with non-chord tones<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-1024x171.png\" alt=\"image of chord progression written in four parts with added non-chord tones on Grand Staff in C minor: one, five-six-five, one, four-six, five-seven, six, one, four, one-six-four, five, uppercase one\" width=\"1024\" height=\"171\" class=\"alignnone wp-image-3303 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-1024x171.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-300x50.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-768x128.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-1536x256.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-2048x341.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-65x11.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-225x38.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2-350x58.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-655-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex29.1-Identifying-non-chord-tones.pdf\" target=\"_blank\" rel=\"noopener\">Ex29.1 Identifying non-chord tones<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 29-2 Analysis with non-chord tones<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 29-2 Analysis with non-chord tones<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Listen to and study the following excerpts. Then complete the specified tasks that appear with each example.<\/p>\n<p>For Worksheet example 29-3, provide labels for each of the circled and numbered non-chord tones on the blanks provided. For each suspension, please note the specific type (9-8, 7-6, 4-3, or 2-3 suspension).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 29\u20113. Ludwig van Beethoven, op. 48, no. 1, \u201cBitten\u201d<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-931x1024.png\" alt=\"image of musical score with annotations. On right hand side, list of numbered notes with blanks for non-chord tone labels.\" width=\"931\" height=\"1024\" class=\"alignnone wp-image-3312 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-931x1024.png 931w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-273x300.png 273w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-768x844.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-1397x1536.png 1397w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-1862x2048.png 1862w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-65x71.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-225x247.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.3-beethoven-350x385.png 350w\" sizes=\"auto, (max-width: 931px) 100vw, 931px\" \/><\/a><\/p>\n<p>Listen to this song, performed by Peter Schreier, on <a href=\"https:\/\/open.spotify.com\/track\/4sXQ5XcohkWktGhYVBLB5W?si=30fd5ace71dc4b8e\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Read an <a href=\"https:\/\/www.lieder.net\/lieder\/get_text.html?TextId=6042\" target=\"_blank\" rel=\"noopener\">English translation<\/a> of the song text on lieder.net.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<p>For Worksheet example 29-4, provide labels for cadences and Roman numerals on the blanks provided, then circle and label all non-chord tones. Finally, answer the question that follows the excerpt regarding the form of this passage.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 29\u20114. W. A. Mozart, Symphony no. 41, mvt. 1, mm. 1\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-1024x647.png\" alt=\"image of score\" width=\"1024\" height=\"647\" class=\"alignnone size-large wp-image-5814\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-1024x647.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-300x190.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-768x485.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-1536x970.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-2048x1294.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-65x41.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-225x142.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-rev-350x221.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-655-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-mozart.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-mozart.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-29.4-mozart.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Salzburg Mozarteum Orchestra, conducted by Hans Graf, on <a href=\"https:\/\/open.spotify.com\/track\/0piu9wf7ZAGSeXUn9EDoA3?si=11a4478b1c564cb2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Wolfgang Amadeus Mozart<\/strong> (1756\u20131791) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.6002278233\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Cliff Eisen and Stanley Sadie.<\/p>\n<\/div>\n<\/div>\n<p>Which of the following terms best describes the form of this passage in Worksheet example 29-4?<\/p>\n<ol>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_2294\">Parallel period<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_2296\">Contrasting period<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_2329\">Phrase group<\/a><\/li>\n<li>None of the above<\/li>\n<\/ol>\n<p>Why?<\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2024\/02\/Ex29.2-Analysis-with-non-chord-tones.pdf\" target=\"_blank\" rel=\"noopener\">Ex29.2 Analysis with non-chord tones<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise (and more) here: <a href=\"https:\/\/open.spotify.com\/playlist\/2lkvuBYjflC2e11BpCzni0?si=cbc01913c5cf4e46\" target=\"_blank\" rel=\"noopener\">Spotify playlist for non-chord tones<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 29-3 Adding non-chord tones<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 29-3 Adding non-chord tones<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>First, study the progression below.<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3-1024x302.png\" alt=\"chord progression in four parts written on Grand Staff in B-flat major: one, five-four-two, one-six, five-four-three, one, one-six, five, one-six, four, one-six, one, cadential-six-four, five, one\" width=\"1024\" height=\"302\" class=\"alignnone wp-image-3337 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3-1024x302.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3-300x88.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3-768x227.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3-1536x453.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3-65x19.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3-225x66.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3-350x103.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3.png 1956w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-655-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-29.3.mp3<\/a><\/audio><\/p>\n<p>Next, re-write the passage on a piece of staff paper by adding one of each of the following to alter the progression:<\/p>\n<ul>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3348\">Passing tone<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3357\">Anticipation<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3359\">Appoggiatura<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3353\">Retardation<\/a><\/li>\n<li><a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_655_3371\">4-3 suspension<\/a><\/li>\n<\/ul>\n<p>Use your mind\u2019s ear or an instrument to realize the aural effect of each alteration. If you don\u2019t like how it sounds, try a different possibility until you are pleased with the result.<\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex29.3-Adding-non-chord-tones.pdf\" target=\"_blank\" rel=\"noopener\">Ex29.3 Adding non-chord tones<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 29<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/NonChordTones.html\" target=\"_blank\" rel=\"noopener\">Robert Hutchinson&#8217;s chapter on non-chord tones<\/a><\/p>\n<p><a href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/15-nonharmonic-tones\/\" target=\"_blank\" rel=\"noopener\">Andre Mount&#8217;s detailed chapter on non-chord tones<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_655_2863\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_2863\"><div tabindex=\"-1\"><p>notes that do not belong in a given chord; for example, D would be a non-chord tone in relationship to a C major triad<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_1762\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_1762\"><div tabindex=\"-1\"><p>a type of texture where all parts use the same rhythm, or mostly the same rhythm<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3347\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3347\"><div tabindex=\"-1\"><p>type of non-chord tone that is approached by same note and resolved down by step; 9-8, 7-6, and 4-3 suspensions are labeled by the interval between the suspended note and the bass, while the bass suspension, 2-3, is formed between the bass and another upper voice<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3348\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3348\"><div tabindex=\"-1\"><p>non-chord tone that is approached by step and resolved by step in the same direction<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3350\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3350\"><div tabindex=\"-1\"><p>non-chord tone that is approached by step and resolved by step in the opposite direction<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3369\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3369\"><div tabindex=\"-1\"><p>type of suspension in which the suspended note forms a ninth, resolving to an octave, above the bass<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3370\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3370\"><div tabindex=\"-1\"><p>type of suspension in which the suspended note forms a seventh, resolving to a sixth, above the bass<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3371\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3371\"><div tabindex=\"-1\"><p>type of suspension in which the suspended note forms a fourth, resolving to a third, above the bass<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3372\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3372\"><div tabindex=\"-1\"><p>type of suspension in which the suspended note is in the bass voice and forms a second, resolving to a third, against another voice above it<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3353\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3353\"><div tabindex=\"-1\"><p>type of non-chord tone that is prepared by same note and resolves up by step<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3357\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3357\"><div tabindex=\"-1\"><p>type of non-chord tone that is prepared by step and resolves to the same note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3359\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3359\"><div tabindex=\"-1\"><p>type of non-chord tone that is prepared by leap and resolves by step in the opposite direction<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3361\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3361\"><div tabindex=\"-1\"><p>type of uncommonly used non-chord tone that is prepared by step and resolves by leap in the opposite direction<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3363\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3363\"><div tabindex=\"-1\"><p>type of successive non-chord tones that embellish a single note; the first note of the double neighbor is prepared by step, moves by third to the second note of the double neighbor, and then resolves by step to the initial note of approach<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_3365\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_3365\"><div tabindex=\"-1\"><p>type of non-chord tone that is prepared and resolved by same note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_2294\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_2294\"><div tabindex=\"-1\"><p>unit of form that features (1) two phrases\u2014the first ending with a weaker cadence, followed by a second ending with a stronger cadence\u2014in which (2) both the antecedent and consequent phrase begin the same way melodically<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_2296\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_2296\"><div tabindex=\"-1\"><p>unit of form with the following features: (1) two phrases\u2014the first ending with a weaker cadence, followed by a second ending with a stronger cadence\u2014and (2) antecedent and consequent phrases that begin differently<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_655_2329\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_655_2329\"><div tabindex=\"-1\"><p>unit of form consisting of two phrases that do not have an antecedent-consequent relationship; occurs when two successive phrases end with the same cadence (for example, two phrases both ending with IACs) or when a phrase with greater conclusiveness is followed by one with greater openness (for example, a phrase ending with an IAC followed by one with a HC)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":29,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-655","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/655","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":63,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/655\/revisions"}],"predecessor-version":[{"id":7185,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/655\/revisions\/7185"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/655\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=655"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=655"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=655"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=655"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}