15. Nonharmonic Tones

Ivette Herryman Rodriguez; Andre Mount; Jerod Sommerfeldt

15. Nonharmonic Tones

Identifying Passing and Neighbor Tones

Complete the table below by filling in the blanks next to each parenthesized nonharmonic tone. For each exercise, make sure to indicate the type of nonharmonic tone (passing or neighbor), the strength of the tone (accented or unaccented), whether or not it requires an accidental in the key at hand (diatonic or chromatic), and its direction (ascending or descending for passing tones, upper or lower for neighbor tones).

type	strength	accidental	direction
neighbor	accented	diatonic	upper
passing	unaccented	chromatic	descending
passing	unaccented	chromatic	ascending
passing	unaccented	diatonic	descending
neighbor	unaccented	chromatic	upper
passing	unaccented	diatonic	descending
passing	unaccented	chromatic	ascending
passing	accented	diatonic	ascending
neighbor	unaccented	diatonic	lower
passing	accented	diatonic	ascending
passing	accented	diatonic	ascending
passing	accented	chromatic	descending
neighbor	unaccented	diatonic	upper
passing	accented	diatonic	ascending
passing	unaccented	diatonic	descending
passing	unaccented	chromatic	descending
neighbor	unaccented	chromatic	upper
passing	unaccented	chromatic	ascending
passing	accented	diatonic	ascending
passing	unaccented	diatonic	descending

Adding Passing Tones to Basic Interval Progressions

Each of the exercises below shows a basic interval progression in two voices. Add an unaccented passing tone to either the upper or lower voice in each exercise. The added passing tones may be diatonic or chromatic, depending on the melodic intervals found in each progression. Try to provide a mixture of diatonic and chromatic passing tones. In some cases it will be possible to add a passing tone to either voice, as in the first example below where a chromatic A# could be added in the upper voice or a diatonic E in the lower voice. (Note: You can alter the rhythm of the progression to accommodate a passing tone by filling in one of the noteheads to convert a half note into a quarter note.)

Identifying Suspensions and Anticipations

Complete each of the exercises below by first filling in the interval sizes on the blank lines between the two staves. Then, identify the type of nonharmonic tone on the line below the lower staff. For suspensions (and retardations), make sure to indicate the type of dissonance and its resolution (e.g., “9-8 suspension”). Note that some of the exercises include ties while others do not. Remember, the presence of a tie has no effect on how these nonharmonic tones are categorized.

Adding Suspensions and Anticipations to Basic Interval Progressions

Rewrite each of the interval progressions below to include the specified type of nonharmonic tone. In the example, an upper-voice suspension is added to the 5-3 progression by suspending the C over the barline to create a dissonant fourth, delaying the resolution to B.

: upper-voice suspension

. upper-voice suspension (or retardation)

. lower-voice suspension

. upper-voice anticipation

Identifying and Altering Nonharmonic Tones

For the first part of this exercise (A), label each of the parenthesized notes (P, N, Sus., Ant., etc.). The first nonharmonic tone has been labeled for you: a passing tone (P) in the first full measure. Then, in the second part (B), replace them with your own nonharmonic tones. They should be different from the ones used by the composer. Feel free to change the rhythm and add accidentals.

Johann Sebastian Bach, “Aus meines Herzens Grunde” (BWV 269), mm. 1-3

Johann Sebastian Bach, “Aus meines Herzens Grunde” (BWV 269), mm. 1-3 [adapted]

Adding Ornamentation to Melodies

Add passing tones and neighbor tones to the melodies found in the voice parts of the excerpts below. For example, a passing tone could be added to the pickup measure in the first exercise below by turning the D above “Good” into an eighth note and adding an eighth-note C just before the barline. Add at least four passing tones and two neighbor tones to each passage. Use aesthetic discretion in placing your ornamentations—you do not need to add nonharmonic tones at every opportunity.

Edna Randolph Worrell, “Alas and Alack We Cannot Agree,” mm. 9-24

Alice Tegnér, Children’s Sing-Song from Sweden, 1. “Christmas Morning”

Analysis

Analyze the excerpts below by adding Roman numerals to the lines below the bottom staff. Make sure the case reflects the quality of the chord and use bass figures to indicate any inversions. Identify the type of nonharmonic tone represented by each of the parenthesized notes (P, N, Sus., Ant., etc.) on the line provided above that note.

Johann Sebastian Bach, Der Herr ist mein getreuer Hirt (BWV 112), 5. “Gutes und die Barmherzigkeit,” mm. 1-4

* This nonharmonic tone does not fall neatly into any of the usual categories. What type does it most closely resemble?

Grace Le Boy, “Are You Lonesome,” mm. 1-4

Analysis

The excerpts shown below are considerably more complex than those seen in the previous exercise. (They include chords and techniques covered later in this book.) Nonetheless, you should still be able to identify the nonharmonic tones. Identify the type of nonharmonic tone represented by each of the parenthesized notes (P, N, Sus., Ant., etc.) and don’t worry about adding a Roman numeral analysis.

Ignacio Cervantes, Danzas Cubanas, “Los Tres Golpes,” mm. 1-6