Embellishments, Motives, and Melodic Devices

A non-chord tone that skips away from a chord tone and then returns to it.

A non-chord tone that connects two chord tones by step.

A chord tone that is approached by a leap.

A non-chord tone that is always on a strong beat.

To create rhythmic complexity through syncopation.

To add melodic interest and smooth voice leading between chord tones.

To emphasize strong beats in a measure.

To create harmonic dissonance and tension.

C-D#-E

C-D-E

C-F-E

C-B-E

A non-chord tone that connects two chord tones by leap.

A non-chord tone that steps away from a chord tone and then immediately returns to it.

A chord tone approached by a chromatic alteration.

A non-chord tone that resolves after two beats.

To create a smooth transition between two different chords.

To add ornamentation and a sense of anticipation or delay to a melody.

To establish a new key area through modulation.

To create a strong rhythmic drive.

A-G-A

A-B-A

A-C-A

A-G#-A

An accented passing tone is always diatonic, while an unaccented passing tone is always chromatic.

An accented passing tone occurs on a stronger beat, while an unaccented passing tone occurs on a weaker beat.

An accented passing tone resolves by leap, while an unaccented passing tone resolves by step.

An accented passing tone is in the bass line, while an unaccented passing tone is in the soprano line.

C-D-E

F-G-A

A-B-C

D-D#-E

G

A

B

None

An upper neighbor tone is always diatonic, while a lower neighbor tone is always chromatic.

An upper neighbor tone steps up from the original note, while a lower neighbor tone steps down from the original note.

An upper neighbor tone resolves by step, while a lower neighbor tone resolves by leap.

An upper neighbor tone is in the soprano line, while a lower neighbor tone is in the bass line.