Melody and Non-Chordal Tones - Page !1 [PDF]

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MELODY AND NON-CHORDAL TONES - page !1 ACCENTED NON-CHORDAL TONES

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• Suspensions A suspension holds on to, or suspends a chord tone in the melody after the harmony below the melody has shifted to the next chord. A suspension is prepared as a chord tone and is then suspended (may be tied or just repeated). The suspension resolves by falling a 2nd to a basic chord tone on a weak beat. Example 1

! • Retardations A retardation is a suspension with an upward resolution. Example 2

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• Appoggiaturas (Unprepared Approach Notes) The appoggiatura is an “unprepared” suspension or retardation. The appoggiatura is an accented approach note that is preceded by a leap, a rest, or may occur at the beginning of a melody or melodic phrase. Appoggiaturas usually resolve downward. When they resolve upwards, chromaticism is usually found. Example 3

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Jazz Theory 315 - MELODY AND NON-CHORDAL TONES - page !2

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UNACCENTED NON-CHORDAL TONES • Passing Tones A passing tone is a non-chordal tone that is used stepwise to fill in the gaps between two chord tones. It may connect chord tones of the same chord, of two different chords, or lead to an appoggiatura or an unresolved tension. A passing tone is usually found on a weak rhythmic placement between two chordal tones a 3rd apart (see below) and it can be diatonic (DPT) or chromatic (CPT) to the scale. Example 4

! • Accented Passing Tones Accented passing tones fall on strong parts of the beat. If they are exposed or of longer values, they may be treated as appoggiaturas when harmonizing. Example 5

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! • Auxiliary Tones (Neighbour Tones) An auxiliary tone is used on a weak beat between a chord tone and its repetition. An upper auxiliary is normally diatonic. A lower auxiliary may be a scale step below but is more often a semitone below even if a chromatic accidental is required. It may decorate another non-chord tone or an unresolved tension and it may be used between changing harmonies. Example 6

MELODY AND NON-CHORDAL TONES - page !3 • Turns A turn is a five note figure that includes both upper and lower auxiliaries. These non -chordal tones are normally found in a weak rhythmic placement. Example 7

! • Double Auxiliary This figure uses both an upper and a lower auxiliary between the repeated pitch. Sometimes referred to as an indirect resolution. Example 8

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! • Incomplete Neighbour Tone This non-chordal tone resolves like an auxiliary but is approached by a leap and left by step. It can be thought of as an unaccented appoggiatura. Also referred to as an unprepared auxiliary or free neighbour. Example 9

! • Anticipations Traditionally, a melodic anticipation is unaccented, anticipates a chord tone, and is usually shorter than its target. It is typically a cadential idiom. In the rhythmic rephrasing of melodies (especially in jazz) a rhythmic anticipation is not a distinct non-chordal tone but usually a chordal tone or an unresolved tension note that is begun shortly before the harmony to which it is related. Example 10

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