Glossary
Anticipation Tones
A non-chord tone that is a member of the *next* chord, arriving early before the actual chord change. It is always unaccented and creates a sense of expectation.
Example:
Before a strong G major chord, a melody might play an F# on an upbeat, acting as an anticipation tone for the upcoming G major harmony.
Appoggiaturas
A non-chord tone that is approached by a leap and resolves by step, typically creating a strong dissonance on an accented beat before resolving to a consonance.
Example:
In a melody over a C major chord, leaping from G up to D (a dissonant note) and then stepping down to C creates an appoggiatura on the D.
Consonant Appoggiaturas
An appoggiatura that is part of the prevailing chord, creating a smoother, less tense transition.
Example:
Leaping to a G over a C major chord (where G is a chord tone) before stepping to E could be a consonant appoggiatura, providing a gentle melodic contour.
Dissonant Appoggiaturas
An appoggiatura that is not part of the prevailing chord, creating a noticeable tension before its resolution.
Example:
Leaping to an A over a G major chord (where A is not a chord tone) before stepping to G creates a dissonant appoggiatura.
Escape Tones
A non-chord tone approached by step from a chord tone and then resolved by a leap in the opposite direction to another chord tone.
Example:
From a C major chord, stepping up to D and then leaping down to B (a chord tone of G major) creates an escape tone on the D.
Harmonic Pedal Points
A pedal point that is a member of the prevailing harmony, often the tonic or dominant, providing a stable foundation.
Example:
Holding a C in the bass while the chords above are C major and F major (where C is a chord tone in both) demonstrates a harmonic pedal point.
Long Appoggiaturas
An appoggiatura that sustains for a longer duration, emphasizing its dissonant quality before resolution.
Example:
Holding a dissonant F over a C major chord for a full beat before resolving to E would be a long appoggiatura, drawing out the tension.
Lower Escape Tone
A specific type of escape tone that steps *down* from a chord tone and then leaps *up* to resolve.
Example:
From a C major chord, moving from C down to B, then leaping up to D (a chord tone of G major) illustrates a lower escape tone.
Non-Chord Tones
Notes in a melody that are not part of the underlying harmony at a given moment, adding tension, color, and forward motion to the music.
Example:
In a simple C major chord, a D note played in the melody would be a non-chord tone if it's not part of a C major 7th or other extended chord.
Non-Harmonic Pedal Points
A pedal point that is not a member of the prevailing harmony, creating dissonance and often an eerie or suspenseful effect.
Example:
Sustaining a C in the bass while the upper voices play a D minor chord (where C is not a chord tone) creates a non-harmonic pedal point.
Pedal Points
A sustained or repeated note, typically in the bass, held through changing harmonies above it, creating a sense of stability or tension.
Example:
In a piece, if the bass holds a low C while the upper voices move through G major and F major chords, that sustained C is a pedal point.
Short Appoggiaturas
An appoggiatura that is very brief in duration, often considered a quick ornamental flourish.
Example:
A rapid, fleeting D before a C in a C major chord might be considered a short appoggiatura, adding a quick touch of tension.
Upper Escape Tone
A specific type of escape tone that steps *up* from a chord tone and then leaps *down* to resolve.
Example:
In a G major chord, moving from G up to A, then leaping down to F# (a chord tone of D major) demonstrates an upper escape tone.