Glossary
Accented Passing Tones
Passing tones that occur on stronger beats or metrical positions, creating a momentary dissonance that resolves. They add more tension.
Example:
A composer might place an accented passing tone on beat one of a measure, creating a striking dissonance before resolving to the chord tone on beat two.
Chromatic
Refers to notes or tones that are outside the established key's scale. They often introduce temporary tension or color.
Example:
In C major, a G# would be a chromatic note, adding a surprising twist to a melody.
Chromatic Neighbor Tones
Neighbor tones that are outside the key's scale. They introduce a temporary alteration, adding color or tension.
Example:
In C major, if a melody moves from C to C# and back to C, the C# is a chromatic neighbor tone.
Chromatic Passing Tones
Passing tones that are outside the key's scale. They introduce a temporary alteration, often for expressive effect.
Example:
Moving from C to D in C major, a C# could be a chromatic passing tone, adding a bluesy or dramatic feel.
Diatonic
Refers to notes or tones that are within the established key's scale. They naturally belong to the key signature.
Example:
In G major, the note A is diatonic because it's part of the G major scale, unlike an A#.
Diatonic Neighbor Tones
Neighbor tones that are within the key's scale. They provide ornamentation while staying within the established tonality.
Example:
In F major, if a melody moves from C to D and back to C, the D is a diatonic neighbor tone.
Diatonic Passing Tones
Passing tones that are within the key's scale. They maintain the established tonality while creating stepwise motion.
Example:
In D minor, moving from D to F, the E is a diatonic passing tone as it's part of the D natural minor scale.
Dissonance
A combination of notes that creates a sense of tension, instability, or clash. Non-chord tones often create this effect.
Example:
Playing a C and F# together creates a strong dissonance that typically needs to resolve to a more consonant interval.
Embellishments
Notes, ornaments, or figures added to a melody to enhance its expression and add complexity. They are like 'spices' that add flavor to music.
Example:
A composer might add a rapid flourish of notes, an embellishment, to a simple melody to make it more virtuosic and exciting.
Lower Neighbor Tone
A neighbor tone that steps one scale degree *below* the original chord tone and then returns to it.
Example:
In a melody on E, a D followed by E would be a lower neighbor tone to E.
Neighbor Tones
A non-chord tone that steps away from a chord tone and then immediately returns to the original chord tone. They add ornamentation and a sense of anticipation.
Example:
A melody that goes C-D-C uses D as a neighbor tone, stepping up and then returning to C.
Non-Chord Tones
Notes that do not belong to the underlying harmony or current chord. They create tension and interest, resolving to chord tones.
Example:
In a C major chord (C-E-G), an F played melodically would be a non-chord tone because it's not part of the C major triad.
Ornamentation
The addition of decorative notes or figures to a melody or harmony. It enhances expression, interest, and complexity.
Example:
A Baroque composer might add elaborate ornamentation like trills and mordents to a simple melodic line.
Passing Tones
A non-chord tone that connects two chord tones by stepwise motion. They create smooth melodic flow.
Example:
When a bass line moves from C to E, the D in between acts as a passing tone, smoothly connecting the two chord roots.
Preparation
The chord tone that immediately precedes a non-chord tone. It sets up the dissonance.
Example:
In a suspension, the sustained chord tone before it becomes a non-chord tone is its preparation.
Resolution
The chord tone that immediately follows a non-chord tone, to which the non-chord tone moves. It releases the tension.
Example:
After a dissonant non-chord tone, the melodic movement to a consonant chord tone is its resolution.
Trills
A rapid alternation between two notes, typically the main note and the note a step above or below it. It adds virtuosity or excitement.
Example:
A pianist might play a rapid trill on a sustained note to create a shimmering, dramatic effect.
Unaccented Passing Tones
Passing tones that occur on weaker beats or metrical positions. They typically provide subtle melodic embellishment.
Example:
In a 4/4 measure, a quarter note unaccented passing tone might fall on beat two or four, between chord tones on beats one and three.
Upper Neighbor Tone
A neighbor tone that steps one scale degree *above* the original chord tone and then returns to it.
Example:
In a melody on G, an A followed by G would be an upper neighbor tone to G.