MUSIC THEORY

Music 222

Mod 29

Subject of the Day: Troubleshooting Non-chord Tones
Reading Assignment: Text; pp. 190-202 (Chapter 12)
Written Assignment: Non-chord Tones II (handout)
Semester Schedule

Here are some situations that arise through the use of non-chord tones

7-6-5 is not good; especially at the cadence.
Simultaneous non-chord tones are best when the intervals between them are thirds or sixths.
Too many simultaneous non-chord tones obscure the harmony.

In the Bb major example below, the leading tone in the alto is destined for the F in the next chord. Recall that the leading tone may do this if it is in an inside voice. However, the passing tone G calls the listener's attention to the fact that the leading tone was in the alto voice and did not resolve to the tonic.

In the next example, the appoggiatura and the 4-3 suspension (which are both accented) are a sixth apart.

In the D major example all voices have a non-chord tone on the second eighth note. There is no voice remaining to define the 1st inversion E minor chord.

These examples can be played by clicking on the measure desired

Suspensions should be used often.
No other non-chord tone should appear at the point of resolution of a suspension.
If an apparent non-chord tone combines with the other voices to effect a change of chord, the situation is considered a chord change only if it would accommodate the Chord Classification System. If not, it is merely a non-chord tone.

In the G minor example the G in the alto is suspended on the second beat. The G resolves to the F# to complete the triad (D F# A). But The D F# A never sounds since the tenor moves to an Eb at the same time the suspension resolves, spoiling the resolution.

In the final example there is an apparent passing tone (C#) in the tenor. Considering the other notes sounding simultaneously with the C#, we can see that a chord C# E G is present. Since this is a first class chord in the key of D major, it functions harmonically between the second class chord and the tonic chord. Therefore, we analyze it as a chord, not as a passing tone.

These examples can be played by clicking on the measure desired

This page is designed to assist students enrolled in Music 222 - Music Theory. If you had difficulty in class with the contents of this lesson, this may help you to comprehend the material. If you missed the presentation in class, this may help to update the material for you.

If you still have questions, contact Dr. Bartolotta at wbartolo@odu.edu.

William S. Bartolotta

Music Department

Old Dominion University

Norfolk, VA 23529