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When examining the harmony of compositions, we are interested in block chords, broken chords or any combination of simultaneous or sequential notes such that this combination implies a chord. This means that, we are interested in notes that are close in time and whose note names belong to a particular chord. We say that these notes imply a chord and call them chord tones. We call this chord an implied chord (although, usually we just call it a chord). Even melody by itself, can imply a chord if it uses the note names from that particular chord.
However, implied chords almost always come together with some nonchord tones. Nonchord tones are those notes that appear in a composition but are not a part of the implied chords. They are usually dissonant with the implied chord and are used as a melodic embellishment that supports a smooth voice leading between the chord tones. Nonchord tones are marked in a score with a circle around the head of a note. In this book, we use red color so that the circle can be easily spotted. After we have successfully determined the implied chords, it is easy to find the nonchord tones as the notes of a composition which do not fit in with the determined implied chords.
In the next chapter, a comprehensive example of determining the implied chords and nonchord tones is presented. The next figure shows the implied chords and nonchord tones in the first two measures of Bach’s Two-part invention No. 14 in Bb major. This is a good example showing how only two voices can easily imply chords. All non-circled notes belong to the implied chords while all the circled ones do not. In this book, implied chords are written above the staff. The positions (the root position and inversions) of the chords are annotated according to the lowest note that occurs for the duration of the chord. That is, we are reducing the bass line to the simplest possible. When examining the bass line, nonchord tones should be excluded. However, they do not appear in the bass line here. During the Bb major triad chord, the lowest note is Bb2, which leads us to the root position. During the Eb major triad chord, the lowest note is Bb2, which leads us to the second inversion. Each chord starts at the place where it is annotated and lasts until the place where the next chord is annotated.
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