Episode #26 is our first dive into embellishing tones. We will go over the characteristics of two types, passing tones and neighbor tones.
Episode #26 is our first dive into embellishing tones. We will go over the characteristics of two types, passing tones (1:00) and neighbor tones (1:30). Notice the 18th century trends specific to these two types of nonchord tones (3:05). Challenge yourself with a quick listening identification quiz at the end (4:17).
Question of the day (5:44): What type of embellishment leads the melody up and down or down and up?
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Hi and welcome to the APsolute Recap: Music Theory Edition. Today’s episode will recap Passing tones and Neighbor tones
Lets Zoom out:
We’re in Unit 6 Harmony and Voice Leading III: Embellishments,
Motives, and Melodic Devices
Topic 6.1-6.2
Our Big idea is pitch
Embellishing tones are also known as trills, ornaments,
preparations or resolutions. They are pitches that are
nonharmonic, or nonchord tones. The embellishing tone will be
melodic, and must be resolved. You can classify the embellishing
tone by how it is approached and how it is resolved.
Lets Zoom in:
The first type of embellishing tone we are going to examine is a passing tone, labeled PT. Melodies that move in a scale like motion will have passing tones. If a pitch is a nonchord tone appearing on a weak beat, it is unaccented. Consequently, when the passing tone is placed on a strong beat, it will be accented.
Here is a passing tone example.The passing tone would be the middle pitch.
The second type of embellishing tone we are going to examine is a neighbor tone, labeled NT. These nonchord tones happen in melodies that start on one pitch, go up or down by a step and then return to the original pitch. There are two types of neighbor tones, when you visit your upstairs neighbor, and when you visit your downstairs neighbor, simply called upper neighbor and lower neighbor.
Here is an upper neighbor tone example.
Here is a lower neighbor tone example.
Embellishments play a role in 18th century voice leading rules.
The rhythm in soprano bass counterpoint is often simplistic with recurring quarter notes. One voice, soprano, alto, tenor, or bass, will sometimes have embellishing tones played out in eighth note rhythms. These nonchord tones compliment a stationary voice. When more than one voice is displaying a nonchord tone, they may move in parallel thirds or parallel sixths with the soprano, or do a voice exchange. I’m not talking about the Ariel and Ursula kind of voice exchange. No, no, no. An example of this kind of switch is if a soprano sings a C, the tenor is singing E, and through the use of passing tones the voice parts have swapped, just in different octaves. Soprano would sing C, D, E, and Tenor would sing E, D, C, thus exchanging voices.
Quiz time! Listen to each example and decipher which embellishing tone is featured.
(play example 1)
This was an upper neighbor example.
(play example 2)
This showed a passing tone with a descending melody.
(play example 3)
This showed a passing tone with an ascending melody.
(play example 4)
This was a lower neighbor example.
To recap……
Embellishing tones are pitches that do not fit harmonically, but add interest to the composition. Passing tones are scale like in nature and can be accented or unaccented. Neighbor tones are shown when there is one pitch, then an embellished pitch a step above or below, and finally return to the original first pitch.
Coming up next on the Apsolute RecAP Music Theory Edition: Anticipations and Escape Tones
Today’s Question of the day is about embellishing tones
Question: What type of embellishment leads the melody up and down or down and up?