![]() ![]() 1 is delayed while the bass continues stepping down. There are also several 4–3 suspensions, one of which occurs when the resolution to the neighboring C # in m. There is a passing tone in the pickup measure forming a dissonant fourth above the bass which resolves via contrary motion to a sixth on the following downbeat. Passing tonesĬonsider the following example (the second part shows the harmonic intervals heard between the voice and the accompanying bass line): The following types of nonharmonic tones are the result of melodic events. 15.2 Melodically derived nonharmonic tones ![]() We will then discuss nonharmonic tones that arise from rhythmic action: suspensions and anticipations. In the first section we will focus on nonharmonic tones that arise from melodic motion: passing tones and neighbor tones. In this chapter we will discuss four types of nonharmonic tones. A clear understanding of nonharmonic tones is crucial for distinguishing between structural harmonies and what we will call auxiliary sonorities, chords that consist partially or wholly of nonharmonic tones (see Chapter 23). Without a firm grasp of the types and nature of nonharmonic tones, harmonic analysis becomes confusing and potentially nonsensical. In tonal music, nonharmonic tones are used to embellish chords, to allow for distinctive profiles of melodic lines, and in general to animate the musical texture.īeing able to identify and name nonharmonic tones will be indispensable to your understanding of tonal harmony. Pitches that do not belong to the prevailing harmony are called nonharmonic tones. When analyzing tonal music, you will frequently find pitches that are dissonant against the harmonies with which they occur. Diatonic Polyphony and Functional Harmony
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