Click anywhere on the music to hear the example.
Passing tone - a non-chord tone which is approached by step and left by step in the same direction
Searching for a melodic line which skips a third will present an opportunity
to insert a passing tone. Locate the melodic third and insert the
note between these two notes. Then assure that the passing tone does
not combine with any other voice to cause parallel fifths or parallel octaves.
Finally, you should take stock of the complete vocal line and determine
whether the insertion of the passing tone enhances it in any way.
If it does not, there is no reason to use it.
Click anywhere on the music to hear the example.
In the chorale above we can look for melodic intervals of a third into
which we can insert a passing tone. In measure 1, between the i chord
and the i6 chord there is a third in the soprano, tenor, and
bass. All three are acceptable, but when too many non-chord
tones are used simultaneously, the harmony becomes muddled and indistinct.
In the enhanced harmonization, below, the tenor and bass have the passing
tones inserted. In measure two there are no intervals of a third,
therefore we do not insert any passing tones. Thirds appear once
again in the third measure, in the soprano and in the tenor. Using
both of these simultaneously, we encounter a very common circumstance:
when non-chord tones are used simultaneously, they sound best if they are
in parallel thirds or parallel sixths. The example below demonstrates
the two passing tones involved in parallel sixths. Consider these
four lines separately and observe what the inclusion of passing tones has
done for these melodic lines. Then listen to the four voices simultaneously
to be aware of all that is added via passing tones.
Click anywhere on the music to hear the example.
Neighboring Tone - non-chord tone which is approached by step and left by step in the opposite direction.
Search for a melodic line which has a repeated note in it. A note can be inserted either above these two notes or below the repeated notes. The direction which you choose should be determined by which one sounds better melodically and works in the music to avoid parallels. In the chorale with which we are working, repeated notes occur in the second measure in the alto on the first three beats and in the tenor on beat three. We will use the lower neighboring tone in the alto on beat 1. If we use the same lower neighboring tone on beat two, we will have a problem. When the D sounds in the alto, this combines with the A in the soprano to result in a perfect fifth. Both voices then move up by a step, causing parallel fifths. The upper neighbor, F could be used here but I simply chose not to use it. In the tenor line on beat three of the same measure, either the upper or lower neighbor can be used. I chose the upper note, merely because it adds a fresh note to the tenor line. In the final measure the repeated notes in the alto line could be considered for inserting a neighboring tone. Although not used here, the upper neighbor, F, would work fine. But the lower neighbor is not good. The reason is the D, which aurally we hear as a seventh attached to the E major triad cannot resolve upward. As we will learn in a future lesson, sevenths of chords, esepecially the dominant seventh, must resolve downward by step. To frustrate that normal tendency of the seventh to resolve down goes against our aural instinct. Careful observance will reveal that the frequency of passing tones as compared to the frequency of neighboring tones is far greater. This is as it should be. The passing tone naturally improves the melodic line when it is used, whereas the neighboring tone actually interrupts the flow of the melody. Listen to this chorale enhanced with several passing tones and neighboring tones.
Click anywhere on the music to hear the example.
If you still have questions, contact Dr. Bartolotta at wbartolo@odu.edu.