Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
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).
Define what a suspension (S), retardation (R), pedal tone (Ped), and anticipation (Ant) are, how they are approached and left, and whether they occur on a strong or weak beat.
Analyze examples from the repertoire, identifying Roman numerals, chord function, and embellishing tones by type (P, N, A, E, S, R, Ped, Ant).
Compose a progression in four voices using at least two types of embellishing tones involving static motion.
Compose a four-bar melody over a T-PD-D-T chord progression that incorporates at least one suspension, retardation, or anticipation.
Write a four-voice T-PD-D-T accompaniment to a given melody that incorporates at least one of the embellishing tones from the lesson.
Preparation for Class
Preparation for Class
Read:
Read:
Embellishing Tones (John Peterson, OMT)
Read from "Category 3: Embellishing Tones involving static notes" to the end.
Embellishing Tone Summary Handout (Louden)
Watch
Watch
Non-Chord Tones
Kati Meyer (6 mins) - Watch from 6:24–14:24
Optional: For a more extended discussion also watch:
Introduction to Non-Chord Tones (Part 1)
Seth Monahan (21 mins) - Watch from 20:47–26:02
Study Aids
Study Aids
Handouts
Summary of Embellishing Tones (Sarah Louden)
Nonharmonic Tones Handout (Toby Rush)
Sparky the Theory Dog Presents: Suspensions (Toby Rush)
Different Examples of Suspensions
Source: Timothy Rolls (Theory II: Non-Chord Tones)
In-Class Activities
In-Class Activities
Discussion
Discussion
Definitions: What is a suspension (S), retardation (R), pedal tone (Ped), and anticipation (Ant)? How is each approached and left? Does each typically occur on a strong beat or a weak beat?
As you work, complete the worksheet here with examples of your own.
Activities
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.
Worksheet 1 (Open Music Theory)
Worksheet 2: Mixed practice including ID, composition, and analysis (from Fundamentals, Function, and Form)
Worksheet 3a and 3b: Harmonic analysis and NCT labeling. (Solution for 3a and for 3b). (Diverse Music Theory)
Worksheet 4 (Hutchinson, Theory for the 21st Century Classroom)
Worksheet 5 (Hutchinson, Theory for the 21st Century Classroom)
Worksheet 6 (Turek, Theory for Today's Musician, see pp. 87–94) [Available online through the library here]
Analysis: Work through the examples from the Anthology linked below. Identify the Roman numerals, chord functions, and cadences for each example. Circle and label all non-chord tones by type as P, N, App, IN, E, S, R, or Ant.
Composition: Complete the following steps. For a shorter activity, just complete steps 1 and 4.
Compose a 4-bar chord progression that uses the T-PD-D-T phrase model.
Partwrite the progression in 4-voice SATB or keyboard style.
Add at least one embellishment from Lesson 3-1 and at least one suspension, retardation, or anticipation.
Compose a melody to go with your chord progression. Your melody should use mostly chord tones, but also incorporate at least 4 non-chord tones. Circle and label each by type.
For extra practice, turn your composition into a parallel or contrasting period. If you closed with a PAC, use these 4 bars as the consequence and compose an antecedent to precede it. If your cadence was an IAC, compose a consequent to follow.
Harmonize a Melody: Follow the steps below.
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.
Harmonize your partner's melody by selecting chords (I, IV, ii, V, or V7). Circle all non-chord tones and label them by type as P, N, App, IN, E, S, R, or Ant. If it can't be labeled as one of these types, consider using a different chord or changing the harmonic rhythm.
If there's time, compose a simple accompaniment to the melody using the chords you've selected.
Compare your harmonization to the original in the anthology. Listen to both and discuss differences.
Repertoire for Practice
Repertoire for Practice
Embellishing Tones: Examples for analysis that include embellishing tones from the reading (S, R, Ant) and review of those from Unit 3-1 over harmonies that include I, IV, ii, and V. See the sections: "Suspensions and Retardations" and "Anticipations."
Practice
Practice
Musition:
Four-Part Writing: Level 7
Nonharmonic Tones: Levels 2–7
Quizlet:
Embellishing Tones: Identify embellishing tones by type.
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