NONHARMONIC TONES

Subcourse Number MU 1715

EDITION B
US Army Element, School of Music
1420 Gator Boulevard, Norfolk, VA 23521-5170
7 Credit Hours
Edition Date: March 1996

SUBCOURSE OVERVIEW
This subcourse is designed to teach you to identify and classify nonharmonic tones.
Your must complete the following two prerequisites before you begin studying the material in this subcourse:
MU 1300, Scales and Key Signatures.
MU 1305, Intervals and Triads.
Unless otherwise stated, the masculine gender of singular pronouns is used to refer to both men and women.
TERMINAL LEARNING OBJECTIVE:
ACTION:

You will identify and classify nonharmonic tones as they occur in given melodies.

CONDITION:

Given the information in this lesson.

STANDARD:

To demonstrate competency of the subcourse, you must achieve a minimum of 70% on

the examination.

TABLE OF CONTENTS
Section

Page

Subcourse Overview
Administrative Instructions
Grading and Certification
Lesson 1: Identifying and Classifying Nonharmonic Tones
Part A--Nonharmonic Tone Function
Part B--Nonharmonic Tone Classifications
Part C--Nonharmonic Tones in Single Melodic Lines
Practice Exercise
Answer Key and Feedback
Lesson 2: Rhythmically Weak Nonharmonic Tones
Part A--Passing Tones
Part B--Auxiliary Tones
Part C--Changing Tones
Part D--Echappees

Part E--Cambiatas
Part F--Anticipations
Part G--Weak Appoggiaturas
Practice Exercise
Answer Key and Feedback
Lesson 3: Rhythmically Strong Nonharmonic Tones
Part A--Appoggiaturas, Accented Passing Tones, and Accented Auxiliary Tones
Part B--Suspensions and Pedal Tones
Practice Exercise
Answer Key and Feedback
Examination
Student Inquiry Sheet
ADMINISTRATIVE INSTRUCTIONS
1.

Number of lessons in this subcourse: Three.

2.

Materials needed in addition to this material are a number 2 pencil and the ACCP examination response
sheet and preaddressed envelope you received with this subcourse.

3.

Supervisory requirements: None.

Grading and Certification Instructions

Examination:
This subcourse contains a multiple-choice examination covering the material in the three lessons.
After studying the lessons and working through the practice exercises, complete the examination. Mark your
answers in the subcourse booklet, then transfer them to the ACCP examination response sheet. Completely black
out the lettered oval which corresponds to your selection (A, B, C, or D). Use a number 2 lead pencil to mark your
responses. When you complete the ACCP examination response sheet, mail it in the preaddressed envelope you
received with this subcourse. You will receive an examination score in the mail. You will receive seven credit
hours for successful completion of this examination.

LESSON 1
IDENTIFYING AND CLASSIFYING NONHARMONIC TONES
OVERVIEW
LESSON DESCRIPTION:
In this lesson, you will learn to identify and classify nonharmonic tones and how they function as they occur in
given melodies.
TERMINAL LEARNING OBJECTIVE:
ACTION:

You will identify and classify nonharmonic tones.

CONDITION:

Given the material in this lesson.

STANDARD:

IAW the information given in this lesson.

REFERENCES:

The material contained in this lesson was derived from Training Circulars 12-41 and 1242.

INTRODUCTION
The study of nonharmonic tones has many variations. Every music theory book presents nonharmonic tones in its own
way. Even the term "nonharmonic tone" is NOT standard. Nonharmonic tones are called: non-chord tones, foreign
tones, accessory tones, bytones, non-essential tones, and embellishing tones. The term "nonharmonic tone" is used in
this subcourse.
Almost every music theorist has his own definition of nonharmonic tones. Some theorist say that there is literally no
such thing as a nonharmonic tone since tones sounding together create harmony. Other theorist fill a page with the
definition of nonharmonic tones. TC-12-42 provides a good simple definition: "nonharmonic tones occur with chords
but are NOT chord members." To identify nonharmonic tones, you must first identify the chord tones. Nonharmonic
tones are an important part of a melody. A melody written with only chord tones would sound boring. Therefore,
nonharmonic tones added between chord tones (also called chordal tones) add motion, tension, and interest to a melody.
Although a nonharmonic tone is identified because it is NOT part of the chord, the true nature of a nonharmonic tone is
melodic.

PART A--NONHARMONIC TONE FUNCTION

1.

Nonharmonic Tone Function. You must examine the melody to understand how a nonharmonic tone functions. The
rhythm and motion of the melody dictate how a nonharmonic tone functions. Nonharmonic tones create stress or
tension that press to a resolution. Nonharmonic tones:
a.

Add ornamentation to the music (Figure 1-1). Excerpt from Peter Tchaikovsky's
B) from the Nutcracker Suite.

Overture Miniature (letter

Figure 1-1: Ornamentation to Music

NOTE: Chord symbols have been included to help in identifying chord tones. See TC 12-41 for an explanation of

chord symbols. The nonharmonic tones referred to in the text are circled in Figure 1-1 and all following figures.
b.

Add smoothness to the flow of the melody (Figure 1-2). Excerpt from Leroy Anderson's Sleigh Ride (four
measures after letter A).

Figure 1-2: Smoothness

c.

Add melodic movement when the harmony is sustained (Figure 1-3). Excerpt from
March Grandioso (measures 21-24).

Roland Seitz'

Figure 1-3: Movement

d.

e.

Add tension to the music (Figure 1-4). Excerpt from Gustav Holst's Second Suite for Military Band in F, fourth
movement (letter F).

Figure 1-4: Tension

Suggest a different harmony (Figure 1-5). Excerpt from the National Anthem (second strain).

Figure 1-5: Different Harmony

PART B--NONHARMONIC TONE CLASSIFICATIONS

2.

Classify Nonharmonic Tones. A nonharmonic tone is identified by the fact that it does NOT belong to the given
chord. In order to classify a nonharmonic tone, you must examine the melody. A nonharmonic tone usually occurs
melodically between two chord tones. A nonharmonic tone is classified by the relationship of the nonharmonic tone
to the chord tones that come before and after it. In order to classify the nonharmonic tone, you must analyze the
three notes involved. These three notes are called the:
a.

Note of approach (also called the note of precedence). This note is the chord tone that comes before the
nonharmonic tone.

b.

Nonharmonic tone. This note is also called the dissonance. There can be more than one nonharmonic tone
between two chord tones.

c.

Note of resolution. This note is the chord tone that follows the nonharmonic tone.

3.The following steps will explain how to analyze nonharmonic tones.

a.

4.

First, identify the nonharmonic tone (Figure 1-6). The melody from America is used in the Figures 1-6, 1-7,
and 1-8.

b.

Figure 1-6: Nonharmonic Tone

Next, identify the note of approach (Figure 1-7).

c.

Figure 1-7: Note of Approach

Then, identify the note of resolution (Figure 1-8).

d.

Figure 1-8: Note of Resolution

Use the following method to classify all nonharmonic tones throughout this subcourse (Figure 1-9).

Figure 1-9: Classification Method

Chromatically Altered Notes. Both chord tones and nonharmonic tones can be chromatically altered by the use of
an accidental. An accidental does NOT mean the note is a nonharmonic tone. The chromatically altered notes in

figure 1-10, (excerpt from the first strain of the National Anthem,) are chord tones, NOT nonharmonic tones.

Figure 1-10: Accidentals

PART C--NONHARMONIC TONES IN SINGLE MELODIC LINES
5.

Nonharmonic Tones in Single Melody Lines. Melodies usually suggest a harmonic background. Chord tones
normally occur on strong beats and are usually the interval of a third or fourth apart. If you can identify the chord,
you can identify the nonharmonic tones. The key signature also helps you identify the chord. You can identify the
tonic and dominant chords by looking at the key signature.
a.

Edwin E. Bagley's National Emblem (first strain, euphonium part) illustrates how the harmony is identified
from the melody. This section is in the key of E flat and all of the melody notes are chord tones in the E flat
triad. The harmony of all three measures is in the key of E flat. (Figure 1-11).

Figure 1-11: Harmony Identified From Melody

b.

The nonharmonic notes in a single melody line are easy to identify in John Philip Sousa's march, King Cotton,
(second strain, clarinet part). The example is in the key of E flat. The only notes that occur on the beats, E flat
and G, suggest an E flat chord. The D and F in the first measure and the D in the second measure are
nonharmonic tones (Figure 1-12).

Figure 1-12: Nonharmonic Tones, Single Melody Line

LESSON 1
PRACTICE EXERCISE
The following items will test your understanding of the material covered in this lesson. There is only one correct
answer for each item. When you have completed the exercise, check your answers with the answer key that
follows. If you answer any item incorrectly, review that part of the lesson which contains the portion involved.
1.

What is the true nature of a nonharmonic tone?

A. Chord member
B. Chord tone
C. Harmony
D. Melodic

2.

When analyzing nonharmonic tones, what is the nonharmonic tone called?

A. Consonance
B. Dissonance
C. Note of approach
D. Note of resolution

3.

What dictates how a nonharmonic tone functions?

A. Melody and harmony
B. Ornamentation and unstressed
C. Rhythm and motion
D. Stress and tension

4.

What adds ornamentation and smoothness to the flow of the melody?

A. Chord tones
B. Interest
C. Nonharmonic tones
D. Tension

5.

When can you use chromatically altered notes?

A. Chord tones and nonharmonic tones
B. Chromatically altered by accidental

C. Key signature sharps and flats

D. Tonic and dominant diatonic chords

Figure 1: Questions 6 and 7

6.

(Refer to figure 1.) Which measure contains a nonharmonic tone?

A. One
B. Two
C. Three
D. Four

7.

(Refer to figure 1.) What is the chromatically altered note in measure two?
A. Auxiliary tone
B. Chord tone
C. Embellishing tone
D. Nonharmonic tone

8.

Where do chord tones usually occur in a melody?

A. At the interval of a second
B. At the interval of a seventh
C. On strong beats
D. On week beats

9.

Where do nonharmonic tones usually occur?

A. Between two chord tones
B. In groups of nonharmonic tones
C. In groups of three
D. Melodically

10. How many note(s) must you analyze to classify a nonharmonic tone?

A. One
B. Two
C. Three
D. Four
11. What is the note that comes before the nonharmonic tone?
A. Dissonance
B. Note of approach
C. Note of consonance
D. Note of resolution
12. What is the note that comes after the nonharmonic tone?
A. Consonance
B. Dissonance
C. Note of approach
D. Note of resolution
13. What can help identify the chord tones in a single melody line?
A. Clef
B. Key signature
C. Meter signature
D. Rhythm
14. What must you first recognize to identify nonharmonic tones?
A. Chord
B. Meter
C. Rhythm
D. Time signature

Figure 2: Questions 15
15. (Refer to figure 2.) Nonharmonic tones occur in which measures?
A. One and two
B. One and three
C. One, two, and three
D. Two and three

Figure 3: Question 16
16. (Refer to figure 3.) The nonharmonic tone in measure one occurs on which beat?
A. One
B. Two
C. Three
D. Four

Figure 4: Question 17
17. (Refer to figure 4.) The nonharmonic tone in measure two occurs on which beat?
A. One
B. Two
C. Three
D. Four

Figure 5: Question 18
18. (Refer to figure 5.) The nonharmonic tone in measure three occurs on which beat?
A. One
B. Two
C. Three
D. Four

Figure 6: Questions 19 and 20

19. (Refer to figure 6.) Which notes are nonharmonic tones?

A. One, three, and four
B. One, three, and five
C. Two, four, and five
D. Two, four, and six
20. (Refer to figure 6.) Which of the following does NOT describe the E naturals in the second measure?
A. Chromatically altered notes
B. Non-chord tones
C. Note of resolution
D. Nonharmonic tones

LESSON 1
PRACTICE EXERCISE
ANSWER KEY AND FEEDBACK
Item

Correct Answer and Feedback

1.

D. Melodic.
(Page 1-1, paragraph Introduction)

2.

B. Dissonance.
(Page 1-4, paragraph 2)

3.

C. Rhythm and motion.

(Page 1-2, paragraph 1)

4.

C. Nonharmonic tones.
(Page 1-2, paragraph 1)

5.

A. Chord tones and nonharmonic tones.

(Page 1-5, paragraph 3)

6.

D. Four.

(Page 1-1, paragraph 2)

7.

B. Chord tone.
(Page 1-5, paragraph 3)

8.

C. On strong beats.
(Page 1-6, paragraph 4)

9.

A. Between two chord tones.

(Page 1-4, paragraph 2)

10.

C. Three.
(Page 1-4, paragraph 2)

11.

B. Note of approach.
(Page 1-4, paragraph 2)

12.

D. Note of resolution.
(Page 1-4, paragraph 2)

13.

B. Key signature.
(Page 1-6, paragraph 4)

14.

A. Chord.
(Page 1-1, paragraph Introduction)

15.

B. One and three.

(Page 1-1, paragraph Introduction)

16.

B. Two.
(Page 1-1, paragraph Introduction)

17.

B. Two.
(Page 1-1, paragraph Introduction)

18.

A. One.
(Page 1-1, paragraph Introduction)

19.

D. Two, four, and six.

(Page 1-1, paragraph Introduction)

20.

C. Note of resolution.
(Page 1-6 &1-7, paragraph 3 and 4)

LESSON 2
RHYTIMICALLLY WEAK NONHARMONIC TONES
OVERVIEW
LESSON DESCRIPTION:
In this lesson, you will learn to identify rhythmically weak nonharmonic tones.
TERMINAL LEARNING OBJECTIVE:
ACTION:

You will identify rhythmically weak nonharmonic tones.

CONDITION:

Given the material in this lesson.

STANDARD:

IAW the information given in this lesson.

REFERENCES:

The material contained in this lesson was derived from Training Circulars 12-41 and
12- 42.

INTRODUCTION
Nonharmonic tones can be grouped into two categories; rhythmically weak and rhythmically strong nonharmonic
tones. The rhythmically weak (non-accented) nonharmonic tones are discussed in this lesson. The rhythmically
strong (accented) nonharmonic tones are discussed in Lesson Three. Rhythmically weak nonharmonic tones occur
on weak beats or a weak part of the beat and are called unaccented nonharmonic tones. The dissonance of
rhythmically weak nonharmonic tones is softened by the weak rhythmic position of the nonharmonic tone.
Rhythmically weak nonharmonic tones add smoothness and ornamentation to the melody. Although rhythmically
weak nonharmonic tones do NOT add much tension to the music, they do add variety and interest to the melody.
The rhythmically weak nonharmonic tones discussed in this lesson are the:

passing tone

auxiliary tone

changing tone (also called note cambiata)

echappee

cambiata

anticipation

weak appoggiatura

PART A - PASSING TONES

1.

Passing Tones. The passing tone is a nonharmonic tone that occurs stepwise between chord tones of different
pitches. Passing tones give the melody stepwise motion between different chord tones. Passing tones can be
added between any melodic interval of a second, third or fourth. Passing tones can be either diatonic (a note
within the key) or chromatic (a note which is chromatically altered).
a.

The most common use of a passing tone is to fill the interval of a third. Jerry Bilik's Civil War Fantasy
(letter C) is an example of passing tones "filling in" the interval of a
third (Figure 2-1).

Figure 2-1: Passing Tone Between Thirds.

b.

A passing tone that is added between the interval of a second is less common. It is
always a
chromatic passing tone. Peter Tschaikovsky's Danse Russe Trepak (7 measures after B) from the
Nutcracker Suite is an example of a passing tone between seconds (Figure 2-2).

Figure 2-2: Passing Tone Between Seconds.

c.

Passing tones can be used alone or in groups. At least two passing tones must be used
to fill the interval
of a fourth. You can use up to four passing tones to fill the interval of a fourth. Joyce's 71st Regiment
March (opening measure of second strain) is an example of two passing tones between the interval of a
fourth (Figure 2-3).

Figure 2-3: Passing Tones Between Fourths.

NOTE: The two passing tones in Figure 2-3 are diatonic. The scale used is a melodic minor scale which raises the
6th and 7th scale degrees. Remember, an accidental does NOT mean the note is a nonharmonic tone.
d.

Gustav Holst's Second Suite in F for Military Band (opening measures) is an example
of passing tones
occurring in a melody line without harmony. Although there is no harmony written, the opening measures
strongly imply tonic harmony. When the passing tones are identified, you can see that the notes of the tonic
harmony (chord tones) are in the strongest rhythmic position (Figure 2-4).

Figure 2-4: Passing Tones in Melody Without Harmony.

e.

Passing tones occur in a melody any time the melody moves stepwise over a single
chord tone. A
chromatic "run" in the melody contains several passing tones. The passing
tones create a flowing line

and give the line motion at the same time. Carmen Dragon's America the Beautiful (opening measures) is
an example of passing tones occurring in a scalewise run over a single chord tone (Figure 2-5).

Figure 2-5: Passing Tones, Scalewise Run.

2.

Passing Tones on Strong Beats. A passing tone can also occur on a strong beat. This occurs when there is
stepwise motion with short note values such as in a run. Although the passing tone occurs on a strong beat, it is
still considered rhythmically weak. Since the passing tone is a note of short value (like the other notes) and it is
NOT emphasized in the melodic line, it is rhythmically weak. Roland Seitz's March Grandioso (measures
21-24) is an example of passing tones occurring in rhythmically strong positions. In Figure 2-6, passing tones
occur on beat two of measures 21 and 23 and on both beats one and two of measures 22 and 24. All of these
passing tones are rhythmically weak.

Figure 2-6: Passing Tones on Rhythmically Strong Beats.

NOTE: Figure 2-6 also illustrates the use of three and four passing tones between chord tones.
3.

Passing Tones Between Different Chords. So far, passing tones have occurred between two chord tones of the
same chord. Passing tones can also occur between two chord tones of different chords. Ralph Vaughan
Williams' Folk Song Suite (third movement) is an example of passing tones occurring between chord tones of
different chords (Figure 2-7).

Figure 2-7: Passing Tones Between Different Chords.

4.

Performing Passing Tones. Passing tones help the melody pass smoothly from one note to another. They create
a melody that advances in succession or moves forward step by step. Passing tones are performed with a feeling
of progression, connection, and smoothness. Since a passing tone is rhythmically weak, it should NOT be
emphasized.

NOTE: The key to performing a nonharmonic tone is to look at its name. All nonharmonic tones have names that
describe what they do.

PART B - AUXILIARY TONES

5.

Auxiliary Tones. An auxiliary tone is a nonharmonic tone that occurs stepwise between two chord tones of the
same pitch. The auxiliary tone always occurs in a rhythmically weak position. Auxiliary tones are also called
neighboring tones, returning tones, turning tones, embellishments, and broderies. An auxiliary tone can be
either an upper auxiliary tone or a lower auxiliary tone.

a.

An upper auxiliary tone is a nonharmonic tone that occurs a step above two chord tones of the same pitch
(Figure 2-8). Excerpt from Ralph Vaughan Williams' Folk Song Suite (first movement, measure 66).

Figure 2-8: Upper Auxiliary Tone.

NOTE: Diatonic nonharmonic tones are notes within the scale. Chromatically altered notes may be within the
scale. An example in e minor is c# and d# are within the ascending melodic minor but NOT part of the key
signature. Diatonic means using ONLY notes of the scale.
b.

A lower auxiliary tone is a nonharmonic tone that occurs a step below two chord tones of the same pitch
(Figure 2-9). Excerpt from Ralph Vaughan Williams' Folk Song Suite (first movement, measure 65).

Figure 2-9: Lower Auxiliary Tone.

c.

The auxiliary tones illustrated in Figure 2-8 and Figure 2-9 are diatonic. Auxiliary tones can also be
chromatic. Figure 2-10 illustrates a chromatic upper auxiliary tone and
Figure 2-11 illustrates a
chromatic lower auxiliary tone. Excerpt from Peter Tschaikovsky's Overture 1812 (rehearsal number 17).

Figure 2-10: Chromatic Upper Auxiliary Tone.

Excerpt from Leroy Anderson's Sleigh Ride (letter B).

Figure 2-11: Chromatic Lower Auxiliary Tone.

NOTE: The auxiliary tone is one of the easiest nonharmonic tones to identify from a single melody line. The
auxiliary tone appears in a weak rhythmic position between two chord tones of the same pitch. John Philip Sousa's
march, Washington Post, (pick-up notes to first strain) is an example of an auxiliary tone occurring in a single
melody line. The harmony suggested is the dominant chord in the key of F (Figure 2-12).
Figure 2-12: Auxiliary Tone, Single Melody Line.

6.

Performing Auxiliary Tones. Auxiliary tones function as an ornament. Auxiliary tones are performed so that
they embellish the chord tones. Auxiliary tones supplement, or contribute to, the chord tone and does NOT
receive any emphasis.

PART C - CHANGING TONES

7.

Changing Tones. Changing tones are two nonharmonic tones that occur between two chord tones in a specific
pattern. They can be diatonic or chromatic. Changing tones add ornamentation to the melody. The two
nonharmonic tones approach the second chord tone from above and below. The first changing tone always
occurs in a weak rhythmic position. The second changing tone can occur in either a weak or strong rhythmic
position. Changing tones are also called double auxiliary tones and double neighboring tones.
a.

Changing tones are usually preceded by and followed by the same note. Gioacchino Rossini's Italian in
Algiers Overture (11 measures after 2) is an example of changing tones (Figure 2 -13).

Figure 2-13: Changing Tones.

b.

Sometimes the chord tones that precede and follow the changing tones are different notes separated by the
interval of a third. The changing tones that occur between these chord tones are called Nota Cambiata. The
Overture Miniature (21 measures after B) from Peter Tschaikovsky's the Nutcracker Suite is an example of
Nota Cambiata (Figure 2-14).

Figure 2-14: Nota Cambiata.

8.

Performing Changing tones. Changing tones and Nota Cambiata function the same as auxiliary tones. They
simply embellish the chord tone. Perform changing tones as an ornament and without emphasis.

PART D - ECHAPPEES
9.

Echappees. An echappee is a nonharmonic tone that moves from the first chord tone by step, then leaps (moves
by an interval larger than a second) to the second chord tone. Echappees are also called escape tones. The
echappee is a note escaping from the melodic direction of the first chord tone and returning by leap to the
second chord tone. The echappee can occur either above or below the first chord tone. If the echappee occurs
above the first chord tone, it leaps down to the second chord tone. If the echappee occurs below the first chord
tone, it leaps up to the second chord tone. Ralph Vaughan Williams' Folk Song Suite (trio from the third
movement) illustrates examples of echappees (Figure 2-15). Figure 2-15: Echappees.

PART E - CAMBIATAS
10. Cambiatas. A cambiata is a non-chord tone that moves by leap from the first chord tone then moves by step to
the second chord tone. The movement of a cambiata is the opposite of the movement of an echappee. Instead of
escaping from the melodic direction of the first chord tone, a cambiata moves in the melodic direction and has
to return by step to the melodic direction of the second chord tone. Cambiatas can be diatonic or chromatic.
Erik Leidzen's arrangement of Roger's and Hammerstein's Oklahoma (rehearsal number 2) is an example of a
cambiata (Figure 2-16).

Figure 2-16: Cambiata.

NOTE: Do NOT confuse cambiatas with Nota Cambiatas. A Cambiata is a single nonharmonic tone. A Nota
Cambiata is a set of two nonharmonic tones.
11. Performing Echappees and Cambiatas. Echappees and cambiatas are unique rhythmically weak nonharmonic
tones. They are the only rhythmically weak nonharmonic tones that involve a leap in their approach or
resolution. They are also approached and resolved in different melodic directions. Echappees and cambiatas are
the most prominent sounding rhythmically weak nonharmonic tones. However, they are still rhythmically weak
and are NOT emphasized or accented when performed. Although they create melodic interest with leaps, they
are performed subordinate to the surrounding chord tones.

PART F - ANTICIPATIONS
12. Anticipations. An anticipation is a nonharmonic tone that occurs stepwise between two chord tones. The
anticipation is the same note as the second chord tone and becomes a chord tone in the following chord.
Anticipations are usually notes of short duration that occur before bar lines and cadences. The anticipation can
follow the first chord tone by step or by leap. Carmen Dragon's arrangement of America the Beautiful (measure
29) is an example of an anticipation (Figure 2-17).

Figure 2-17: Anticipation.

13. Performing Anticipations. An anticipation is performed with the feeling of arriving at a note too soon and then
quickly moving to the note of resolution.

PART G-WEAK APPOGGIATURAS

14. Weak Appoggiaturas. A weak appoggiatura is a nonharmonic tone that occurs between two chord tones. The
weak appoggiatura follows the first chord tone by a leap and moves to the second chord tone by step. All three
notes move in the same direction. The musical functions of weak appoggiaturas and strong appoggiaturas are
different. A weak appoggiatura occurs in a weak rhythmic position and does NOT have the emphasis of a
strong appoggiatura. John Philip Sousa's march, Fairest of the Fair, (second measure of the first strain) is an
example of a weak appoggiatura (Figure 2-18).

Figure 2-18: Weak Appoggiatura.

15. Performing Weak Appoggiaturas. A weak appoggiatura is like a passing tone. The only difference is that a
weak appoggiatura is approached by leap. Perform a weak appoggiatura like a passing tone, without emphasis.
Although there is a leap involved, a weak appoggiatura should still be played with a feeling of smoothness. The
idea is to create a smooth melodic line with a note missing.

LESSON 2
PRACTICE EXERCISE
The following items will test your understanding of the material covered in this lesson. There is only one correct
answer for each item. When you have completed the exercise, check your answers with the answer key that
follows. If you answer any item incorrectly, review that part of the lesson that contains the part involved.

Figure 1: Question 1.
1.

(Refer to Figure 1.) What is the type of nonharmonic tone found in Figure 1?
A. Accented passing tone
B. Anticipation
C. Changing tone
D. Passing tone

Figure 2: Question 2.
2.

(Refer to Figure 2.) What is the B flat in the bass voice found in Figure 2?
A. Accented passing tone
B. Auxiliary tone
C. Passing tone
D. Pedal tone

3.

What is the correct term for nonharmonic tones that occur on a weak beat or a weak part of the beat?
A. Dissonance
B. Non-accented
C. Rhythmically weak nonharmonic tones

D. Unaccented nonharmonic tones

Figure 3: Question 4.
4.

(Refer to Figure 2.) Which type of nonharmonic tone is suggested in Figure 2?

A. Anticipation
B. Auxiliary tone
C. Echappee
D. Passing tone

5.

Where do passing tones occur?

A. Between chord tones of different pitches
B. Between chord tones of the same pitch
C. Stepwise between chromatically altered notes
D. Stepwise between non-chord tones

6.

How do anticipations NOT function?

A. As nonharmonic tones that become chord tones in the following chord
B. Approached by step or leap
C. Stepwise between two chord tones
D. Usually at cadences

7.

How should all unaccented nonharmonic tones should be performed?

A. Accented
B. Not emphasized
C. Stressed
D. With a slight emphasis
Figure 4: Questions 8 and 9.

8.

(Refer to Figure 3.) The D illustrates which type of nonharmonic tone?

A. Anticipation
B. Auxiliary tone
C. Echappee
D. Passing tone

9.

(Refer to Figure 3.) The D flat illustrates which type of nonharmonic tone?
A. Anticipation
B. Auxiliary tone
C. Echappee
D. Passing tone

10. How is an echappee approached?

A. By leap and resolved by leap
B. By leap and resolved by step
C. By step and resolved by leap
D. By step and resolved by step
11. The changing tones note of approach and note of resolution of are usually at what interval?
A. Half step apart
B. Major third
C. Step apart
D. The same pitch

Figure 5: Questions 12 through 16.

12. (Refer to Figure 4.) What is note ten?

A. Chord tone
B. Nonharmonic tone
C. Chromatic upper auxiliary tone
D. Diatonic
13. (Refer to Figure 4.) Which of the following notes are chord tones?
A. One, three, six, and ten
B. One, three, seven and twelve
C. One, four, seven, and eleven
D. One, five, eight, and thirteen
14. (Refer to Figure 4.) Which notes are auxiliary tones?
A. Two and six
B. Four and ten
C. Six and nine
D. Nine and twelve
15. (Refer to Figure 4.) Which notes are passing tones?
A. Three and six
B. Four and eight
C. Five and ten
D. Six and twelve
16. When an echappee occurs above the first chord tone, how is the second chord tone approached?
A. It leaps down
B. It leaps up
C. It moves by half step
D. It moves by step
17. In a Nota Cambiata, what is the interval between the note of approach and the note of resolution?
A. Fifth
B. Fourth
C. Second

D. Third

Figure 6: Questions 18 through 20.

18. (Refer to Figure 5.) Which nonharmonic tone is note four?
A. Anticipation
B. Auxiliary tone
C. Echappee
D. Passing tone
19. (Refer to Figure 5.) Which nonharmonic tone is note six?
A. Auxiliary tone
B. Neighboring tone
C. Passing tone
D. Upper auxiliary tone
20. (Refer to Figure 5.) What notes are passing tones?
A. Two and four
B. Four and seven
C. Six and seven
D. Six and eight

LESSON 2
PRACTICE EXERCISE
ANSWER KEY AND FEEDBACK
Item

Correct Answer and Feedback

1.

D. Passing tone
(Pages 2-2 through 2-4, paragraph 1 and 2)

2.

C. Passing tone
(Pages 2-2 through 2-4, paragraph 1 and 2)

3.

D. Unaccented nonharmonic tones

(Page 2-1, paragraph Introduction)

4.

A. Anticipation
(Page 2-9, paragraph 12)

5.

A. Between chord tones of different pitches

(Page 2-2, paragraph 1)

6.

C. Stepwise between two chord tones

(Page 2-9, paragraph 12)

7.

B. Not emphasized
(Page 2-5 through 2-10, paragraph 4, 6, 8, 11, 13, and 15)

8.

B. Auxiliary tone
(Page 2-7, paragraph 5c, Note)

9.

D. Passing tone
(Page 2-3, paragraph 1d)

10.

C. By step and resolved by leap

(Page 2-8, paragraph 9)

11.

D. The same pitch

(Page 2-7, paragraph 7a)

12.

B. A nonharmonic tone
(Page 2-5, paragraph 5)

13.

D. One, five, eight, and thirteen

(Page 1-1, Lesson One)

14.

B. Four and ten

(Page 2-5, paragraph 5)

15.

D. Six and twelve

(Page 2-2, paragraph 1)

16.

A. It leaps down
(Page 2-8, paragraph 9)

17.

D. Third
(Page 2-8, paragraph 7b)

18.

B. Auxiliary tone
(Page 2-5, paragraph 5)

19.

C. Passing tone
(Page 2-2, paragraph 1)

20.

C. Six and seven

(Page 2-2, paragraph 1)

LESSON 3
RHYTHMICALLY STRONG NONHARMONIC TONES
OVERVIEW
LESSON DESCRIPTION:
In this lesson, you will learn to identify rhythmically strong nonharmonic tones.
TERMINAL LEARNING OBJECTIVE:
At the end of this lesson you will be able to identify rhythmically strong nonharmonic tones.
ACTIONS:

You will identify rhythmically strong nonharmonic tones.

CONDITIONS:

Given the information in this lesson.

STANDARDS:

IAW with the information given in this lesson.

REFERENCES:

The material contained in this lesson was derived from Training Circulars 12-41 and
12-42.

INTRODUCTION
Rhythmically strong nonharmonic tones occur in rhythmically strong positions. They can occur in places that are
naturally rhythmically strong or in places that are accented by the use of dynamics. Rhythmically strong
nonharmonic tones are very active. They have a strong need to be resolved, which also adds motion to the melody.
Rhythmically strong nonharmonic tones add tension as well as interest and variety to the melody. Rhythmically
weak nonharmonic tones only ornament the basic melody, but rhythmically strong nonharmonic tones are part of
the basic melody. There are two types of rhythmically strong nonharmonic tones. The first type are the
appoggiaturas, accented passing tones, and accented auxiliary tones. These nonharmonic tones create the most
tension in the melody. The second type of rhythmically strong nonharmonic tones are the suspensions and pedal
tones. This type of nonharmonic tones includes suspensions, retardations, pedals, inverted pedals, and internal
pedals. These rhythmically strong nonharmonic tones tend to smooth the flow of the music by clouding the true
harmonic rhythm.

PART A--APPOGGIATURAS, ACCENTED PASSING TONES, AND ACCENTED

AUXILIARY TONES
Many music theorists do NOT make a distinction between appoggiaturas, accented passing tones, and accented
auxiliary tones. All three of these nonharmonic tones are often called appoggiaturas. All three nonharmonic tones
function the same.
1.

Appoggiaturas. The word appoggiatura comes from the Italian verb appoggiare which means to lean. The
appoggiatura is a leaning note. Its strong rhythmic position gives the impression it is leaning toward the note of
resolution. The appoggiatura occurs on the beat between two chord tones. The appoggiatura leaves the note of
approach tone by leap and moves stepwise toward the note of resolution tone, usually in the opposite direction
of the leap. The appoggiatura can be either diatonic or chromatic. Gioacchino Rossini's William Tell Overture
(measure 4) is an example of a diatonic appoggiatura (Figure 3-1).

Figure 3-1: Diatonic Appoggiatura.

Gioacchino Rossini's Italian in Algiers Overture (eight measures after 3) is an example of a chromatic appoggiatura
(Figure 3-2).

Figure 3-2: Chromatic Appoggiatura.

NOTE: The note of approach in Figure 3-2 is a nonharmonic tone and NOT a chord tone. When you have two
consecutive nonharmonic tones (with different classifications) it is called delayed resolution. The second
nonharmonic tone delays the resolution to the chord tone. In order to classify the first nonharmonic tone (G), you
must use the note of approach (A) and the ultimate note of resolution (F). Therefore, the first nonharmonic tone is a
passing tone. The second nonharmonic tone (E ) uses the first nonharmonic tone (G) as the note of approach.
a.

Prepared appoggiatura. An appoggiatura is less dissonant when the pitch of the appoggiatura occurs in the
chord proceeding the appoggiatura. When this occurs, the appoggiatura is called a prepared appoggiatura.
Ralph Vaughan Williams' Folk Song Suite (third measure of the trio in third movement) is an example of a
prepared appoggiatura (Figure 3-3).

Figure 3-3: Prepared Appoggiatura.

b.

Appoggiatura chord. Sometimes two or more appoggiaturas occur at the same time and form a chord that
does NOT belong to the present harmony. The chord that is formed is called an appoggiatura chord.
Gioacchino Rossini's William Tell Overture (eighteen measures after letter G) is an example of an
appoggiatura chord (Figure 3-4).

Figure 3-4: Appoggiatura Chord.

2.

3.

Performing appoggiaturas. Appoggiaturas should always be emphasized. The appoggiatura will be dissonant,
but perform the note with emphasis.
a.

Appoggiaturas are very active notes and should be stressed. If the dissonance is NOT emphasized, the note
is NOT active.

b.

Emphasis is key to playing an appoggiatura. Emphasizing the dissonance creates a very active note which
has a strong need to resolve.

c.

Appoggiaturas have a strong need to resolve. They should be played with a feeling of motion toward the
note of resolution.

Accented Passing Tones. An accented passing tone is a nonharmonic tone that occurs stepwise between two
chord tones that are a third apart. An accented passing tone can be diatonic or chromatic. An accented passing
tone differs from an appoggiatura tone in the position of the note of preparation (first chord tone). Figure 3-5 is

an example of a diatonic accented passing tone. Excerpt from Richard Wagner's Elsa's Procession to the
Cathedral (three measures after 2).

Figure 3-5: Diatonic Accented Passing Tone.

Carmen Dragon's arrangement of America the Beautiful (measure 32) is an example of a chromatic accented
passing tone (Figure 3-6).

Figure 3-6: Chromatic Accented Passing Tone.

NOTE: The accented passing tone in Figure 3-6 occurs on a weak beat but is accented by the use of the tenuto.
4.

5.

Performing accented passing tones. Accented passing tones should always be emphasized. The accented
passing tone will be dissonant, but perform the note with emphasis.
a.

Accented passing tones are very active notes and should be stressed. If the dissonance is NOT emphasized,
the note is NOT active.

b.

Emphasis is key to playing an accented passing tone. Emphasizing the dissonance creates a very active
note which has a strong need to resolve.

c.

Accented passing tones have a strong need to resolve. They should be played with a feeling of motion
toward the note of resolution.

Accented Auxiliary Tones. An accented auxiliary tone is a nonharmonic tone that occurs between two chord
tones. The accented auxiliary tone can occur a step above or below the two chord tones. It usually occurs below
the two chord tones. The accented auxiliary tone can be either diatonic or chromatic. Jerry Bilik's American
Civil War Fantasy (two measures after A) is an example of a diatonic accented auxiliary tone (Figure 3-7).

Figure 3-7: Diatonic Accented Auxiliary Tone.

Ralph Vaughan Williams' Folk Song Suite (second movement) is an example of a chromatic accented auxiliary tone
(Figure 3-8).
Figure 3-8: Chromatic Accented Auxiliary Tone..

6.

Performing accented auxiliary tones. Accented auxiliary tones should always be emphasized. The accented
auxiliary tone is dissonant, but perform the note with emphasis.
a.

Accented auxiliary tones are very active notes and should be stressed. If the dissonance is NOT
emphasized, the note is NOT active.

b.

Emphasis is key to playing an accented passing tone. Emphasizing the dissonance creates a very active
note which has a strong need to resolve.

c.

Accented auxiliary tones have a strong need to resolve. They should be played with a feeling of motion
toward the note of resolution.

PART B - SUSPENSIONS AND PEDAL TONES

7.

Suspensions. A suspension occurs when a note's natural melodic progression is rhythmically delayed. A
suspension requires two chords and CANNOT occur over a single chord. A suspension is a chord tone in the
first chord that is sustained or repeated in the same voice and becomes a nonharmonic tone in the second chord.
A suspension is usually the duration of a tied or dotted note value. The tied or dotted note value delays the note
while the harmony changes. The suspension is then resolved by step down to a chord tone.
a.

There are three parts of a suspension; the preparation, the suspension, and the resolution. The preparation is
a chord tone of the first chord. The suspension is a nonharmonic tone and is the same pitch as the
preparation. The resolution is a chord tone of the second chord. The suspension resolves by step down to
the resolution. Richard Wagner's Elsa's Procession to the Cathedral (rehearsal number 4) is an example of a
suspension (Figure 3-9).

Figure 3-9: Suspension.

b.

When a suspended note resolves up instead of down, it is called a retardation. Richard Wagner's Elsa's
Procession to the Cathedral (six measures after 1) is an example of a retardation (Figure 3-10).

Figure 3-10: Retardation.

8.

Performing suspensions. Although suspensions are rhythmically strong nonharmonic tones, they are NOT as
dissonant as appoggiaturas.

9.

a.

Suspensions are basically a continuation of a chord tone of the first chord. You should have the feeling that
the chord is held too long and it becomes dissonant.

b.

Perform the suspension with emphasis when it becomes dissonant. Once the chord tone of the first chord is
attacked, it should remain at least at the same level through the notes nonharmonic portion. Suspensions
should NOT be played with any less emphasis than the surrounding chord tones. In fact, the suspension
should increase in intensity at the point where the note becomes dissonant.

c.

The suspension should be resolved smoothly. The intensity that is created when the note is dissonant
should flow into a feeling of repose when the note is resolved. A suspension should have a feeling of
tension during the dissonance that is smoothly resolved to a feeling of relaxation.

Pedal Tones. A pedal tone is a nonharmonic tone of a long duration. A pedal tone normally occurs over three or
more chords. A pedal tone begins and ends as a chord tone of harmony. A pedal tone must occur as a
nonharmonic tone in at least one chord between the first and last chords. The tonic and dominant scale degrees
are the most commonly used pedal tones. A pedal tone usually occurs in the bass voice. Richard Wagner's
Elsa's Procession to the Cathedral (rehearsal number 6) is an example of a pedal tone (Figure 3 -11).

Figure 3-11: Pedal Tone.

a.

When a pedal tone occurs in a middle voice, it is called an internal pedal. Carmen Dragon's America the
Beautiful (measure 22) is an example of an internal pedal (Figure 3-12).

Figure 3-12: Internal Pedal.

NOTE: When two pedal tones occur at the same time, they are called a double pedal (See Figure 3-12).
b.

When the pedal tone occurs in the soprano voice, it is called an inverted pedal. John Barnes Chance's
Variations on a Korean Folksong (measure 192) is an example of an inverted pedal (Figure 3-13).

Figure 3-13: Inverted Pedal.

10. Performing pedal tones. Although pedal tones are rhythmically strong nonharmonic tones, they are NOT as
dissonant as appoggiaturas.
a.

Pedal tones are basically a continuation of a chord tone of the first chord.

b.

Once the chord tone of the first chord is attacked, it should remain at the same level through the notes
nonharmonic portion. Perfrom the pedal tone with emphasis when it becomes dissonant. Pedal tones
should NOT be played with any less emphasis than the surrounding chord tones.

c.

The pedal tone will automatically resolve when the harmony changes and the pedal becomes a chord tone
again.

LESSON 3
PRACTICE EXERCISE
The following items will test your understanding of the material covered in this lesson. There is only one correct
answer for each item. When you have completed the exercise, check your answers with the answer key that
follows. If you answer any item incorrectly, review that part of the lesson which contains the portion involved.
1.

What statement is NOT correct about rhythmically strong nonharmonic tones?

A. Are very active
B. Have a strong need to be resolved
C. Occur in rhythmically strong positions
D. Usually non accented

Figure 1: Question 2.
2.

(Refer to Figure 1.) What type of nonharmonic tone is suggested?

A. Inverted pedal
B. Pedal tone
C. Retardation
D. Suspension

3.

How many types of rhythmically strong nonharmonic tones are there?

A. Two
B. Three
C. Four
D. Five

Figure 2: Question 4.

4.

(Refer to Figure 2.) Which type of nonharmonic tone is suggested?

A. Auxiliary tone
B. Pedal tone
C. Retardation
D. Suspension

5.

Which of the following is a correct statement?

A. Suspensions are NOT as dissonant as appoggiaturas
B. The tonic and subdominant scale degrees are the most commonly used pedal tones
C. The three parts of a suspension are the preparation, the suspension, and the regression
D. Suspensions are NOT a continuation of a chord tone

6.

What is a suspended note that resolves up named?

A. Retardation
B. Suspension
C. Delayed tone
D. Sustained tone

7.

A pedal tone normally occurs over how many chords?

A. One
B. Two
C. Three
D. Four

8.

How should you NOT perform an accented auxiliary tone?

A. "Backed off"
B. Emphasized
C. Stressed
D. With motion

9.

When does an appoggiatura chord occur?

A. The appoggiatura is a part of the chord
B. The appoggiatura note becomes a chord tone in the following chord

C. The appoggiatura note becomes a chord tone in the preceding chord

D. Two or more appoggiaturas occur simultaneously to form a chord that does NOT belong to the present
harmony
10. How does a pedal tone resolve?
A. It becomes a chord tone
B. Smoothly
C. Using contrary motion
D. With less emphasis
11. What is a pedal tone named that occurs in the soprano voice?
A. Double
B. Inner
C. Internal
D. Inverted
12. A suspension requires how many chords?
A. One
B. Two
C. Three
D. Four
13. Which of the following statements is NOT correct for an accented auxiliary tone?
A. It is neither diatonic nor chromatic
B. It occurs a step above or below the two chord tones
C. It occurs between two chord tones
D. It usually occurs below the two chord tones
14. How is a suspension resolved?
A. By contrary motion
B. By leap
C. By step
D. By step or leap

Figure 3: Questions 15 and 16.

15. (Refer to Figure 3.) Which of the notes are nonharmonic tones?
A. One, three, and six
B. Two, five, and six
C. Three, four, and six
D. Four, six, and seven
16. (Refer to Figure 3.) What nonharmonic tone is note six?
A. Appoggiatura
B. Auxiliary tone
C. Passing tone
D. Pedal
17. What nonharmonic tones should be emphasized when played?
A. Changing tones and echappees
B. Passing tones and Auxiliary tones
C. Rhythmically strong nonharmonic tones
D. Rhythmically weak nonharmonic tones
18. How is an appoggiatura performed?
A. Active
B. Emphasized
C. Harshly
D. Long
19. When does a suspension occur?
A. Over a single chord

B. When the harmony does not change

C. When the natural melodic progression has been rhythmically delayed
D. When the suspension is resolved up by step to a chord tone

Figure 4: Question 20.

20. (Refer to Figure 4.) What nonharmonic is note five?
A. Passing tone on a strong beat
B. Accented passing tone
C. Accented auxiliary tone
D. Echappee

LESSON THREE
PRACTICE EXERCISE
ANSWER KEY AND FEEDBACK
Item

Correct Answer and Feedback

1.

D. Usually non accented

(Page 3-2, paragraph Introduction)

2.

D. Suspension
(Page 3-6, paragraph 7)

3.

A. Two
(Page 3-2, paragraph Introduction)

4.

B. Pedal tone
(Page 3-7, paragraph 9)

5.

A. Suspensions are NOT as dissonant as appoggiaturas

(Pages 3-6 and 3-7, paragraph 8)

6.

A. Retardation
(Page 3-6, paragraph 7b)

7.

C. Three
(Page 3-7, paragraph 9)

8.

A. "Backed off"
(Page s,3-3 through 3-5, paragraph 2, 4, and 6)

9.

D. Two or more appoggiaturas occur simultaneously to form a chord that does NOT belong to
the present harmony
(Page 3-3, paragraph 1b)

10.

A. It becomes a chord tone

(Page 3-8, paragraph 10b)

11.

D. Inverted
(Page 3-8, paragraph 10c)

12.

B. Two
(Page 3-6, paragraph 7)

13.

A. It is neither diatonic nor chromatic

(Page 3-5, paragraph 5)

14.

C. By step
(Page 3-6, paragraph 7)

15.

C. Three, four, and six

(Page 1-1, Lesson One)

16.

C. Passing tone
(Page 3-3, paragraph 3)

17.

C. Rhythmically strong nonharmonic tones

(Page 3-3 through 3-8, paragraph 2, 4, 6, 8c, and 10c)

18.

B. Emphasized
(Page 3-3, paragraph 2c)

19.

C. When the natural melodic progression has been rhythmically delayed

(Page 3-6, paragraph 7)

20.

A. Passing tone on a strong beat

(Page 3-4, paragraph 3 and Lesson Two, paragraph 2)