Classification of nonchord tones

Between two chord tones, one or more nonchord tones can appear. These two chord tones can belong to the same chord or to two subsequent chords. The next figure shows the beginning of Bach’s Two-part invention No. 14 in Bb major where we see four nonchord tones. They are marked with red circles. Nonchord tones were explained in chapter Implied chords, chord tones and nonchord tones. Each of the nonchord tones in the figure occurs between two chord tones which belong to the same chord (Bb major triad chord). However, a nonchord tone can also occur between two chord tones which belong to two subsequent chords.

Figure: The nonchord tones at the beginning of Bach's Two-part invention No. 14 in Bb major

In the previous figure, no more than one nonchord tone appears between two chord tones. The next figure shows measure 5 from Mozart’s Piano Sonata in C major, K. 545 where we can find two nonchord tones appearing between two chord tones. 

Figure: The nonchord tones in measure 5 from Mozart’s Piano Sonata in C Major, K. 545

The classification of nonchord tones examines types of nonchord tones that occur often. It is based on the different possible motions that can occur when the nonchord tone is approached and when it is left. There are three possible motions: a repeat, step and skip, which are explained in the next chapter. When determining motions, we compare the pitch of a nonchord tone with the pitch of its previous and next note. Both the previous and next note can be a chord tone or a nonchord tone.

The reader who finds the classification of nonchord tones too detailed can skip it and return to it later. Classification of nonchord tones is important because it helps in better understanding of voice leading and melodic patterns. Also, it is helpful during the harmony analysis when it can save you from making a wrong conclusion.

Repeats, steps and skips

When the next note repeats the pitch of the previous note, this is called a repeat. A motion between the two pitches whose distance is equal to the half step or whole step is called a step. A motion that is bigger than that is called a skip. 

A step and skip can be ascending or descending. The next figure illustrates a few repeats, steps and skips. All the steps and skips in the figure are ascending.  

Figure: The examples of repeats, steps and skips

Types of nonchord tones

A passing tone is a nonchord tone which is approached by a step and left by a step in the same direction. A passing tone is ascending or descending, depending on the direction of the steps. It can be annotated using the letter P.

The next figure shows measures 5 to 7 from Mozart’s Piano Sonata in C major, K. 545 and the nonchord tones that appear in them. All the nonchord tones are passing tones. Some of them are ascending while some of them are descending.

Figure: The nonchord tones in Mozart’s Piano Sonata in C major, K. 545 

A neighboring tone is a nonchord tone which is approached by a step and left by a step of the equal size and opposite direction. Thus, the pitch of the note that precedes the nonchord tone is the same as the pitch of the note that follows the nonchord tone. A neighboring tone can be upper or lower, depending whether the pitch of the nonchord tone is higher or lower than the pitch of the note preceding (and following) the nonchord tone. It can be annotated using the letter N. 

Bach's Prelude No. 2 in C minor from Well-Tempered Clavier, book I contains a lot of lower neighboring tones. The next figure shows the nonchord tones in the beginning two measures of this prelude. Similar melodic patterns occur in the measures that follow.

Figure: The nonchord tones in Bach's Prelude No. 2 in C minor from Well-Tempered Clavier, book I

The next figure shows the nonchord tones in two measures from Mozart’s Piano Sonata in C major, K. 545. We see that the pitches of the first and second nonchord tones (C#5 and E5) surround the pitch (D5) of the chord tone that occurs before and after the two nonchord tones. Such a configuration is called the double neighboring tones (or changing tones). The first nonchord tone is somewhat similar to the lower neighboring tone (C#5) placed between the two chord tones (D5) while the second nonchord tone (E5) is similar to the upper neighboring tone placed between the two chord tones (D5), hence the name double neighboring tones. The third nonchord tone is an appoggiatura. Appoggiaturas will be explained later.

Figure: The nonchord tones in Mozart’s Piano Sonata in C major, K. 545

A retardation is a nonchord tone which is approached by a repeat and is left by an ascending step, while a suspension is a nonchord tone which is approached by the repeat and is left by a descending step. The repeat can be realized using two notes or a single note which is held for the duration of the two notes. In the second case, the same note begins as a chord tone and becomes a nonchord tone (in the moment when a new chord appears). A retardation can be annotated using the letter R, while a suspension can be annotated using the letter S. A retardation or suspension brings notes from the previous chord into the next one.  

The next figure shows the nonchord tones in the last five measures from Chopin’s Prelude No. 7 in A major. The nonchord tones in measure 13 are retardations and they bring the notes from the previous F# dominant seventh chord. The nonchord tone D4 in measure 15 is a suspension and it brings the note from the previous E dominant ninth chord. The nonchord tone B4 in the same measure is an appoggiatura. Appoggiaturas will be explained later. A retardation consists of three phases that are called preparation, retardation and resolution. A suspension consists of three phases that are called preparation, suspension and resolution. The phases are annotated in the next figure.

Figure: The nonchord tones in Chopin’s Prelude No. 7 in A major

An anticipation is a nonchord tone which is approached by a step and left by a repeat. The repeat can be realized using two notes or a single note which is held for the duration of the two notes. In the second case, the same note begins as a nonchord tone and becomes a chord tone (in the moment when a new chord appears). An anticipation is ascending or descending, depending on the direction of the step. It can be annotated using the abbreviation Ant. An anticipation anticipates notes from the next chord.

The next figure shows the nonchord tones at the ending of Chopin's Prelude No. 11 in B major. The nonchord tone B4 at the end of measure 24 is a descending anticipation. It anticipates the next B major triad chord. The nonchord tone D#5 in the same measure is an appoggiatura.

Figure: The nonchord tones in Chopin’s Prelude No. 11 in B major

An appoggiatura is a nonchord tone which is approached by a skip and left by a step in the opposite direction. An appoggiatura can be upper or lower, depending whether the pitch of the nonchord tone is higher or lower than the pitch of the note preceding (and following) the nonchord tone. It can be annotated using the abbreviation App. An appoggiatura is a sort of overreaching gesture. The previous three figures show examples of the appoggiatura.

Similarly, an escape tone is a nonchord tone which is approached by a step and left by a skip in the opposite direction. An escape tone can be upper or lower, depending whether the pitch of the nonchord tone is higher or lower than the pitch of the note preceding (and following) the nonchord tone. It can be annotated using the letter E.

Escape tones and appoggiaturas are also called incomplete neighboring tones because they are similar to neighbouring tones except that instead of two steps in the opposite directions we have only one step (and skip in the opposite direction).

A pedal tone is a nonchord tone which is approached by a repeat and left by a repeat. The repeats can be realized using two notes or a single note which is held for the duration of the two notes. A pedal tone can be annotated using the abbreviation Ped.

The next figure shows the pedal tones at the beginning of Bach's Prelude No. 15 in G major from Well-Tempered Clavier, book I. Strictly speaking, only if we replace the second nonchord tone G2 with G3, we would have the pedal tones in line with the aforementioned definition. However, we can still say that the pedal tones occur here.

Figure: The nonchord tones in Bach's Prelude No. 15 in G major from Well-Tempered Clavier, book I

Nonchord tones usually occur on the weak beat. The exceptions are the suspension and retardation which usually occur on the strong beat.

Nonchord types are not annotated in this book (with the exception of this chapter). That is, all the types of nonchord tones are annotated in the same way, using only the circle around the notehead.