Section 1: Chapter 1 Non-Harmonic Tones Flashcards
(73 cards)
1
Q
What are tensions?
A
Tensions are nonharmonic (or non-chord) tones that include the intervals of the 9th, 11th, and 13th above the root of a chord.
2
Q
What are melodic tensions?
A
Melodic tensions are found in the melody line or lead voice of an arrangement
3
Q
What do melodic tensions consist of?
A
- Any note longer than a beat in duration. 2. Any duration followed by a leap. 3. Notes that are located on a strong beat, which resolves, by a step, to a chordtone located on a weak beat.
4
Q
What are harmonic tensions?
A
Harmonic tensions are non-chord tones used in conjunction with the vertical structure of a chord.
5
Q
Within triads, what are not considered tensions?
A
6ths and 7ths
6
Q
When can 6ths and 7ths be used in melodic tensions?
A
When they are used in an independent melody line that moves against a sustained triad
7
Q
is a 7th identified as a harmonic tension within a 6th chord?
A
no
8
Q
When TM7 is combined with the chord tones of a Major 6th chord,
A
the sonority will change to a Major 7th sounding chord.
9
Q
When TM7 is used with the minor 6th chord
A
the character will change to a minor-Major 7th sounding chord.
10
Q
TM7 can be used as a melodic tensions when
A
used as independent melody lines moving against a sustained sixth chord.
11
Q
When can a T9 and T#11 be used in major triads?
A
Diatonic to the key
12
Q
When can a T6, TM7 be used in a major triad?
A
As part of an independent melodic tension.
13
Q
When can a T9, T11 T6, TM7, T7, and T13 be used in a minor triad?
A
As part of an independent melodic tension.
14
Q
When can a T#11 be used in a major 6th?
A
When diatonic to the key.
15
Q
When can a TM7 be used in a major 6th chord?
A
As part of an independent melodic tension.
16
Q
When can a TM7 be used in a minor 6th chord?
A
As part of an independent melodic tension.
17
Q
When can a T#11 be used in a Major 7th chord?
A
When diatonic to the key.
18
Q
When can a T9 be used in a Minor 7th chord?
A
When diatonic to the key
19
Q
When can a T13 be used in a Minor 7th chord?
A
Only when in the dorian mode.
20
Q
When can a T9 be used in a Minor 7th (b5) chord?
A
When diatonic to the key
21
Q
When can a Tb5 be used in Dominant 7th?
A
Considered a tension when not already identified as a chord tone by a chord symbol.
22
Q
What do you avoid combining a T9 with?
A
T♭9 or T♯9
23
Q
What do you avoid combing a T13 with?
A
T♭13
24
Q
What do you avoid using a 5th with?
A
T♭13 This will normally replace the 5 T♭5
25
What tensions are available for a major triad?
T6, TM7, T9, T♯11, T13
26
What tensions are available for a minor triad?
T6, TM7, T7, T9, T11, T13
27
What tensions are available for a major 6th chord?
TM7, T9, T♯11
28
What tensions are available for a minor 6th chord?
TM7, T9, T11
29
What tensions are available for a Major 7th chord?
T9, T♯11, T13
30
What tensions are available for a Augmented Major 7th?
T9, T♯11
31
What tensions are available for a Minor-Major 7th?
T9, T11, T13
32
What tensions are available for a Minor 7th?
T9, T11, T13
33
What tensions are available for a Minor 7th (♭5)?
T9, T11, T♭13
34
What tensions are available for a Dominant 7th?
T♭9, T9, T♯9, T♯11, T♭5, T♭13, T13
35
What tensions are available for a Augmented 7th?
T9, T♯11
36
What tensions are available for a Dominant 7th (sus4)?
T9, T13
37
What tensions are available for a Diminished 7th?
Any note a whole step above any chord tone, depending on chord scale involved.
38
What is nonharmonic movement?
Occurs when a non harmonic tone (or non-chord tone) creates a melodic connection between harmonic tones (or chord tones).
39
Where can nonharmonic movement be found?
It can be found in main melody lines or within supporting voices, smoothly connecting the vertical harmonic structures of a composition.
40
What is a Passing tone (P)?
* Non-chord tones used to fill the space between two chord tones with the following intervals: M2, m3, M3, P4.
* Passing tones are approached, diatonically or chromatically, by a step (not leap), and move by steps in the same direction. • They can be found on both weak and strong rhythmic positions.
* Passing tones that are located on strong rhythmic positions or are longer than the surrounding tones are known as Accented Passing Tones.
* One passing tone connecting to another passing tone, diatonically or chromatically, before moving in the same direction to a chord tone, is also known as a Double Passing Tone.
41
What is a Neighboring Tone (N)?
Non-chord tones used to embellish a single tone that neighbors it on each side.
The tones embellished must be of the same pitch. A neighboring tone must return immediately to the tone it came from.
Neighboring tones may embellish single tones, chromatically or diatonically, orabove (upper neighbor) or below (lower neighbor).
A neighboring tone may be found on weak or strong rhythmic positions.
42
What is an Appoggiatura (A)?
•Appoggiaturas are non-chord tones that are approached by a leap and move to chord tones by a step diatonically or chromatically in the opposite direction. •Also called an incomplete neighbor •Appoggiaturas will be approached by a chord tone. •In most cases, appoggiaturas are accented, approached by an ascending leap, and resolved down by a step.
43
What is an Escape Tone (E)?
* Escape tones are non-chord tones that are approached by a step and move to a chord tone by a leap in the opposite direction.
* Another tone that is considered an incomplete neighbor.
* Escape tones are usually shorter than a beat, are unaccented, and diatonic.
44
What is a Neighbor Group (NG)
•Two consecutive non-chord tones that embellish a chord tone through its upperand lower neighbor tones. –Approached by step, then moves by leap in the opposite direction to its adjoining neighbor tone. –Resolves to the original chord tone.
45
What are Anticipations?
Anticipations rhythmically anticipate a chord change that has not been reached. Anticipations may be approached by a step or leap. They are chord tones of the new chord. Anticipations may be rhythmically tied, sustained, or followed by a rest.
46
What are Susupensions?
* Suspensions hold on to (or suspend) a chord after other voices have moved onto another chord.
* Suspensions can offer dissonant and consonant tone qualities.
* Suspensions usually fall on rhythmically strong positions.
* Suspensions may occur in any voice.
47
What are the 3 elements of a suspensions?
1. **Preparation** – The tone preceding the suspension, which will also be the same pitch at the suspension, and will always be a chord tone.
2. **Suspension** – The tone which suspends the chord. It may or may not be tied to the preparation, but will always be the same note as the preparation.
3. **Resolution** – The resolving tone following the suspension. Resolutions will always be a chord tone a 2nd below the suspension.
48
How are suspensions named and what is the exception?
In most cases, the names of suspensions remain constant, even if compoundintervals are involved. The exception is the 9-8 sus. If this type of sus is notfound as a compound interval, it will be a 2-1 sus. The resolution should not be present anywhere in the suspension. Theexception to this rule is the 9-8 sus, which is allowed.
49
What is a suspension with change of bass?
Occurs whenbass moves to another chord tone with the resolution. The suspension must be present on one of the other voices and not the bass. The name of the suspension is calculated in the same manner as the other types.
50
What is an embellished suspension?
occurs when other tones appear after the suspension and before the resolution.
51
What is a chain of suspensions?
Occurs when one resolution serves as the preparation for another.
52
What are Retardations (R)?
* Retardations hold on to a chord after other voices have moved on to anotherchord.
* They follow the same rules as suspensions, with one exception: the resolutionwill be a chord tone a 2nd above the retardation. In other words, retardationsresolve up and suspensions resolve down.
* Retardations usually occur at cadence points, but may occur anywhere.
* It is common practice to incorporate retardations moving with suspensions,however, they may also stand alone.
53
What are pedal points?
A sustained tone occurring over three or more chords.
Pedal points must begin and end as a chord tone.
Pedal points must be a nonharmonic tone in at least one chord between the firstand the last chord.
Pedal points usually occur in the bass voice
Figured bass uses the lowest moving voice for analysis.
54
What are other types of pedal points?
* Inverted Pedal Point – A pedal point found in the soprano voice
* Internal Pedal Point – A pedal point found in the alto or tenor voice
* Double Pedal Point – Two pedal points occurring in two voices, usually the bassvoice and any other voice.
55
How is a passing tone approached and resolved by?
approached by step and resovled in the same direction.
56
How is a neighbor tone approached by and resolved by?
approached by Step
and
resolved by Step in opposite direction
57
How is an Escape Tone (E) approached and resolved by?
approached by Step
and
Leap in opposite direction
58
How is a Neighbor Group (NG) approached by and resolved by?
Step, then leaps another non-chord tone
and
Step back to the original chord tone
59
How is an anticipation approached and resolved by?
approached by Step or leap
and
resolved Same tone
60
How is a suspension approached by and resolved by?
approached by Same tone
and
Down a step
61
How is a retardation approached by and resolved by?
approached by Same tone
and
Up a step
62
How is a pedal point approached by and resolved by?
approached by Same tone sustained
and
Chord tone to non-chord tone to chord tone
63
What are aspects of four part writing in regards to non harmonic tones?
More than one non harmonic tone may occur simutaniously. When this occurs, the tone typically forms intervals of thirds, sixths and octaves. Nonharmonic tones may occur in any voice. However, the bass voice is typically limited to unaccented passing tones, pedals, and neighbor tones.
64
T/F: Tensions are chord tones which include the 7th, 9th, 11th, and 13th.
false
When the 7th is present and is not already identifed as a chord tone by the chord symbol, it is considered a tension.
65
Which is characteristic of melodic tensions?
a. They may consist of any note longer than a beat in duration.
b. They may consist of any duration followed by a leap.
c. They consist of notes located on a strong beat, which resolves, by step to achord tone on a weak beat.
d. All of the above
all of the above
## Footnote
a. They may consist of any note longer than a beat in duration.
b. They may consist of any duration followed by a leap.
c. They consist of notes located on a strong beat, which resolves, by step to achord tone on a weak beat.
66
T/F: Any note above or below a step above or below a chord tone can generally beconsidered an available tension.
True
67
Which is NOT characteristic of a passing tone?
a. Fills the space between chord tones with an interval of a P5 between them
b. Fills the space between chord tones with an interval of an M3 between them
c. Moves to a chord tone by step in the same direction
d. Two passing tones
a.Fills the space between chord tones with an interval of a P5 between them
68
Describe how a pedal point (pedal tone) is different from the other non harmonic tones.
A pedal point is a sustained tone, which starts out as a chord tone, becomes a non-chord tone, and then ends as a chord tone
69
What is a suspension with a change of bass?
Occurs when bass moves to another chord tone with the resolution. The suspension must be present on one of the other voices and not the bass. The name of the suspension is calculated in the same manner as the other types.
70
Is a 7th considered a non chord tone if identified?
No
71
What tensions are available for Major Triads
T9, T#11 when diatonic to the key
T13, TM7 - as part of an independent melodic tension
72
What tensions are available for Minor Triads?
T9, T11
T6, TM7, T7 - As part of an independent melodic tension
T13 - is available when the scar of the movement is Dorian or Jazz Minor.
73
What tension is available for a Augment-Major 7th Chord?
T9
T#11
