Non-Harmonic Tones

1.0 Nonharmonic Tones

Overview: Our system of analysis is designed to follow closely the relationships heard between melodies and chord structures.  To put it another way, all of the analysis that we conduct in class should be related to how we hear the musicunfortunately many theory texts (and classes) tend to prioritize how the music looks, which does a disservice to the composer as well as the listener.

1.1 Definitions

We classify notes as being either a) part of a harmonic structure or a chord, or b) being the result of some linear motion.  For example, on the left (below) we see two vertical structures (chords).  All of the notes in each structure can be thought of as being part of that chord.  The example on the right shows the same two chords with an additional note in between.  This added note is part of neither chord and is thus classified as being a "nonharmonic tone."

 

The first measure contains two chords, (F A C and A C E), and the second has the same two chords with an added G.  Because G is not a part of either chord, we must identify it as being the product of some linear motion (in this example, the lowest pitch is moving upwards in a scalar pattern).  We do not hear the G as being part of a chordal structure.

1.1 Types of nonharmonic tones

There are a myriad of varieties of nonharmonic tones; for brevity's sake we will only discuss the most common ones.  The table below will suffice to illustrate the most common nonharmonic tones.  Blue squares identify the pitch in question.

 

Measure 1

Passing tone (PT).  These are dissonant notes that are approached and left by step in the same direction.  (cf. Measures 2-5)

Measure 2

Lower Neighbor Tone (LNT).  These are dissonant notes that are approached by step, but left by a step in the opposite direction (cf. m. 4)

Measure 3

Accented Passing Tone (APT).  Similar to the PT (m. 1), the accented passing tone is a special variant where the dissonance is on a downbeat, but the approach and resolution are like a regular passing tone.

Measure 4

Upper neighbor tone (UNT).  Very similar to the lower neighbor tone in measure 2, this nonharmonic tone appears above a harmonic one.

Measure 5

Appogiatura (A).  The dissonance is approached by leap and left by step (like a passing tone).  The difference between m.5 and m.1 is the approach; leaping into a dissonance.

 

 

Measure 6

Ritardation (R).  Very much like a suspension (cf. measure 8), the ritardation has three parts: the preparation, the dissonance, and the resolution.  In this case, the preparation represents a consonant interval; the dissonance is the same note repeated (with shifting harmony underneath it to create the dissonance) and a resolution by step.

Measure 7

Suspension (SUS).  The suspension has three components: the preparation, the dissonance, and the resolution.  The preparation is a consonance, the dissonance (or suspension) is created when the note remains static and the harmony surrounding it creates dissonance; the resolution takes place when the dissonance resolves down by a step (cf. measure 7).

Measure 8

Chordal Skips (CS).  None of the notes in this measure are technically dissonances, and therefore the chordal skip is not really a nonharmonic tone.  Chordal skips represent consonant arpeggiations within triads; since there is no dissonance, we lack many of the features of nonharmonic tones, though they can be confused with one another. 

Measure 9

Anticipation (ANT).  The anticipation takes place when a melody seems to "jump ahead" to a consonant pitch.  In this example the G moves down to F (which is a dissonance); it is turned into a consonance when the harmony surrounding it changes (a passive resolution).  Compare this to the suspension and ritardation (m. 6-7), where a similar feature takes place.

Measure 10

Escape Tone (ESC).  When a dissonance does not resolve by step, we consider it to be an "escape" from the normal rules of dissonance and therefore label it an "escape tone."  These can come in all flavors, so be careful of the various tricky ways these resolve (or don't resolve, as the case may be).

1.1 Analysis using nonharmonic tones

With these things in mind, it is possible to examine (analyze) a composition that uses traditional Western harmony from the perspective that notes are organized into a) harmonic (chord) tones and b) nonharmonic tones.  The key to this type of anlaysis is to listen to the music and make analytical judgements based on how you actually hear the music being organized.