Unit 5-1: Embellishing Tones

Objectives

By the end of this lesson, students will be able to:

Define tight coordination and melodic skeletons as they relate to melodic-harmonic relationships.
Categorize embellishing tones into three categories: those involving stepwise motion (passing and neighbor tones), leaps (appoggiaturas and escape tones), or static notes (suspensions, retardations, pedals, and anticipations).
Explain how each type of embellishing tone is approached and resolved and whether it usually occurs on a strong or weak beat.
Analyze examples from the repertoire, identifying Roman numerals and embellishing tones by type (as P, N, A, E, S, R, Ped, Ant).
Compose a melody over a given chord schema that includes at least one embellishing tone from each category.

Preparation for Class

Read:

Embellishing Tones (Peterson, OMT)
I Came In Like a Suspension (Tim Chenette)
Embellishing Tone Summary Handout (Louden)
Melodic-Harmonic Organization: Melodic Skeletons (Trevor de Clercq, The Practice of Popular Music, pp. 108–110)

Watch

Embellishing Tones
(Alan Belkin, 4 minutes)

Introduction to Non-Chord Tones
(Seth Monahan, 18 minutes) - Watch 0:00–18:27

Reference Aids

Handouts

Summary of Embellishing Tones (Sarah Louden)
Nonharmonic Tones Handout (Toby Rush)
Sparky the Theory Dog Presents: Suspensions (Toby Rush)

Examples of Neighbor (N) and Passing Tones (P)
Source: Timothy Rolls (Theory II: Non-Chord Tones)

Four voice-leading examples showing passing and neighbor tones. The first example is a IV - V progression in C major, with a passing tone (E) between scale degrees 4 (F) and 2 (D) in the alto line. The second example is a tonic chord in f-sharp minor that shifts from one voicing to another (using parallel 6ths). There is a passing tone (B) between scale degrees 3 (A) and 5 (C-sharp) in the soprano line, and two passing tones (D and E) between scale degrees 5 (C-sharp) and 1 (F-sharp) in the tenor line. The third example is a repeated tonic chord in G major. There is a neighbor tone (E) between scale degrees 5 (D). The fourth and final example is a i - V progression in d minor with a neighbor tone (B-flat) between scale degrees 5 (A).

Different Examples of Suspensions
Source: Timothy Rolls (Theory II: Non-Chord Tones)

Four voice-leading examples in F major showing suspensions. The first example shows a I6 - IV progression with a 9-8 suspension over IV (C-B-flat). The second example shows a I6 - V progression with a 7-6 suspension over V (C-B-flat). The third example shows a iii - IV progression with a 4-3 suspension over IV (E-D). The fourth and final example shows a IV - I6 progression with a 9-8 suspension over I6.

In-Class Activities

Discussion

Categorizing Embellishing Tones: Break down how each of the four embellishing tones discussed in the reading (P, N, App, and E) are approached and left. Do they typically occur on a strong beat or weak beat? Listen to examples of each and discuss the different expressive qualities of each type of embellishment.
- - As you work, fill out the worksheet here with examples of your own.

Activities

Practice Worksheets: Answer questions about non-chord tones and identify examples from the repertoire in the following practice worksheets. All non-chord tones from this lesson and Lesson 3-1 are included.
- 1. Worksheet 1 (Open Music Theory)
  2. Worksheet 2: Mixed practice including ID, composition, and analysis (from Fundamentals, Function, and Form)
  3. Worksheet 3 (Hutchinson, Theory for the 21st Century Classroom)
  4. Worksheet 4 (Hutchinson, Theory for the 21st Century Classroom)
  5. Worksheet 5 (Turek, Theory for Today's Musician, see pp. 87–94) [Available online through the library here]
Analysis: Work through music examples from the Anthology linked below. Identify the Roman numerals and chord schemata. Circle and label all non-chord tones by type as P, N, App, IN, or E.
Melody Composition: Complete the following steps.
- 1. Select one of the chord schemas from Unit 3.
  2. Compose a 4-bar chord progression. Notate both Roman numerals and chord symbols.
  3. Compose a melody to go with the chord progression that uses mostly chord tones. Incorporate at least three different types of non-chord tones into the melody from each of the 3 different categories discussed in the reading. Sing your melodies as a class while your instructor or a classmate blocks the chord progression.
  4. For extra practice, turn your composition into a parallel period, sentence, or SRDC phrase structure.
Harmonize a Melody: Follow the steps below.
- 1. Have a partner select one of the melodies from the anthology section below. All notes and chord symbols should be removed so that only the melody is visible.
  2. Harmonize your partner's melody by selecting chords that fit the melody. Circle and label any non-chord tones by type as P, N, App, IN, or E. If it can't be labeled as one of these types, consider using a different chord or changing the harmonic rhythm.
  3. If there's time, compose a simple accompaniment to the melody using the chords you've selected.
  4. Compare your harmonization to the original in the anthology. Listen to both and discuss differences.

Repertoire for Practice

Embellishing Tones: Examples for analysis that include embellishing tones from the reading.

Anthology: Embellishing Tones

Assignment

Assignment 5-1

NEXT STEP

Next Lesson: Melody & Motive

Practice

Musition:
- Nonharmonic Tones: Levels 1a–5b
Quizlet:
- Embellishing Tones: Identify embellishing tones by type.

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