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A non-chord tone is a tone that is not a member of the chord. We categorize and label the various non-chord tones according to the manner in which they are approached and the manner in which they are left.
Passing Tone - The passing tone (p) is approached by step and left by step in the same direction
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Neighboring Tone - The neighboring tone is approached by step and left by step in the opposite direction
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Suspension - The suspension is a repetition of a note from the previous chord and it is left downward by step.
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The suspension has three parts: 1. Preparation (P), 2. Suspension (S), 3. Resolution (R). The preparation is always a chord tone (consonant). It remains on the same note as the chord changes. This causes the note to become a non-chord tone (dissonant). The suspension which occurs on the beat (accented) moves downward by step, becoming a chord tone once more. This resolution is normally unaccented. The interval between the bass and the suspension and the interval between the bass and resolution define the type of suspension. The interval (simple) between the bass and alto in no. 5 above is a fourth. When the suspension resolves, the interval to the bass is a third. Thus, this suspension is labeled a 4-3 suspension.
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If we follow the logic in determining that the suspension in example no. 5 is a 4-3 suspension, we can readily see why the suspension in example no. 6 is a 7-6 suspension. The suspension, which is the A in the soprano (prepared in the previous chord), is a seventh away from the bass. When it resolves to the G it becomes a sixth from the bass. In example no. 8 the suspension is in the tenor. Unlike the others, the 9-8 suspension must truly be a ninth or more from the bass. In this suspension the ninth can never be reduced to a second. The 2-1 would be too harsh sounding to be acceptable. In fact, we could say generally, that a suspension and its resolution should never be sounding simultaneously. We have a situation where the suspension occurs in the bass voice (example no. 8). Since we have been calculating all of our suspensions from the bass, how do we now determine the type of suspension with the bass moving? What is required is to calculate the smallest interval (reduced) to the bass. In example no. 8 that would be the C in the soprano. Remember, each interval must be reduced to its simple interval, so do not be deceived into thinking that the tenor's F is the closest interval to the bass. The interval from bass to soprano is a second. When the suspension resolves, we calculate the interval between the bass and the same voice (soprano) which had the closest dissonance. That would be a third (A - C). So the suspension would be labeled a 2-3 suspension. This 2-3 suspension is the only suspension possible in the bass.
A quick review reveals that there are four types of suspension: 4-3, 7-6, 9-8, and 2-3. The 2-3 is the bass suspension. No suspension other than these four can qualify as a true suspension.
Retardation - The retardation (no. 9) is a repetition of a note from the previous chord and is left upward by step. Basically it is a suspension in reverse. The retardation is used rarely in the style which we are studying. When it is used, it usually appears at the cadence in the soprano.
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Sometimes by using a non-chord tone we could instigate bad voice leading. In the example above, (no. 10), the passing tone (A) which was inserted in the soprano, combines with the alto's D creating a perfice fifth between the soprano and alto. Both voices proceed downward by step to another perficet fifth causing parallel fifths.
Whereas the inclusion of a non-chord tone can cause parallels, the insertion of non-chord tones cannot eliminate parallels. In example no. 11 there are parallel octaves between the tenor and bass. The passing tone in the tenor does not change the effect of the parallel octaves which occur on beats one and two.
If you still have questions, contact Dr. Bartolotta at wbartolo@odu.edu.