TERMINOLOGY VARIANTS IN THE PEDAGOGY
0F NONHARMOMC TONES

MECHIGAN STM'E UNNERSITY
Thesis f’m' fha Dogma of Eel EL
Glen Cyrus Sfewarf
$9.64

31-45515

This is to certify that the
thesis entitled

Terminology Variants in the Pedagogy
of Non-Harmonic Tones

presented by
Glen Cyrus Stewart
has been accepted towards fulfillment

of the requirements for

PhoD. degree in Education

Major professor

 

Date February 24, 1964

 

LIBRARY

Michigan State
University

 

 

 

 

ARSTRACT
THHHIVULUGY VARIANTS IN THE
1"EDAG(Y}Y OF I'IOIIILM ‘EOIIIC TONES

by Glen Cyrus Stewart

This dissertation was a study of nonharmonic tone nomenclature,
classification, and terminology variants used in music theory instruct-
ion during the first sixty years of the twentieth century. The study
was limited to harm nic practices of the eLghteenth- and nineteenth-
century styles of musical composition.

Two hypotheses were established for the study:

1. Confusion exists in the analysis of nonharmonic tones, and
in the classification and nomenclature used in the pedagogy of music
theory.

2. A systematic classification of nonharmonic tones can be
established to avoid the use of multiple terms and definitions, and to
provide a basis for a standariized nonharnonic tone nomenclature.

The procedures used for the study include the exaiination of
over one hundred harmony textbooks used for theory instruction iuring
the first sixty years of the twentieth century. From this bibliography
a SGlth bibliOgraphy of thirty-two books was chosen which represents
adequately the variety of nonharmonic tone nomenclature and ana ysis
presented by music theorists for pedagogical purposes. A search was
made in periodical literature and other sources for material relating
to the analysis of nonharmonic tones.

l

A‘

n“ W 'V i‘ “I"
»ien syrus ottaart

2

A study was made in two areas related to the analysis and the
pedagOgy of nonharmonic tones to provide additional background for the
s tudy:

1. Symbols of communication in music employed in the instruct-
ional process.

2. Honharmonic tones as a function of dissonance in the evolu-
tion of eighteenth- and nineteenth-century styles of musical composition.

The major findinqs of the study were summarized as follows:

1. A variety of terms is used to identify nonharmonic tones.
do consistent relationship was found between the devices described and
the terns or symbols used to represent them.

2. hore variety exists in the definition of nonharmo.i3 terns
than in the choice of terminology itself.

3. No two theorists appear to agree entirely in the choice of
terminology and the definitions of nonharnonio tones.

h. Most theory textbooks contain no systematic presentation
of nonharmonic tones.

S. The confusion of nomenclature and the use of multiple mean—
ings of terms is most extensive in those textbooks which present no
systematic classification of nonharmonic tones.

6. Recently published textbooks devote more space and attention
to nonharmonio tones and present then in a nore systematic manner than
older textbooks. There is no :cneral agreement in matters of classifi-
cation and nomenclature.

7. Wonharmonic tones can be analyzed and presentol in a system—
atic manner to facilitate instruction and learning.

8. A systematic classification of nonharmoni: tones is a

('f
(‘3

‘fi N' n ‘ 1 1-7,
Winn ,yrus U -"art

3
prerequisite to a consistent nomenclature.

9. A systen of classification using a melodic anoroaoh and
deoarture analysis is the most inclusive system upon shioh to base a
nomenclature.

10. Terminology can be defined to avoil the use of a term for
more than one basic device and to avoid multiple definitions of terns
by basing definitions upon an approach—departure classification of
nonharmonic devices.

A classification of nonharmonic tones based upon an approach-
deoarture analysis is proposed. A terminology derived from historical
usage and authority is suggested. A defini ion is given for each term,
based upon the classification.

The results of the s udy indicate that a consensus of music
theorists is needed to establish a standzrdized nomenclature and analy—
sis of nonharmonic tones. It is suggested that a consensus might be

established through the offices of one of the national professional

organizations concerned with music education in the United States.

TERHIWOLOGY VARIATPS IN THE
PBWAGOGI OF NONXARHON 3 TUNES

BY

Glen Cyrus Stewart

A THESIS

Submitted to
Hichigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF EDUCATInH

College of Education

19614

Music in general-—and melody in particular--has
been considered, since time immenorial, a supernatural,
magical medium. Iany great philosophers in different
civilizations have given their attention and directed
their thoughts toward this elusive phenomenon. The more
definitions of music you know, the more you wonder what
music really is. It seems to fall into the category of

1

life itsei . t seems to have too many "X's”.

Joseph Schillinger

The purpose of this study is to investigate the many different
ways in which nonharmonic tones are presented and explained in present
day teaching of music theory. The study is limited to nonharmonic tone
classifications and terminology which are used in pr=senting the har—
monic styles of the eighteenth and nineteenth centuries. The author
has observed in his teaching of music theory over a period of years hat
there are many names for the same device, and also that one name may
denote several different devices. Further, .e has noted various dis-
crepaneies between the definition and exylanation of some devices and
the example quoted for their clarification. In short, h- has observed
almost as many systems of nomenclature for nonharmonic tone devices as
there are textbooks of theory. An attempt to summarize these termin—
ologies will be made, and also an attempt to resolve them into a logical
categorization will be made--one that will have historical, logical,
and semantic integrity and support. It is hoped that this study might
contribute to the pedagogy of music theory by providing a basis for the
elimination of diversity in classification and terminology, and lead to
the elimination of confusion in the mind of the teacher and the stuient
in the comparative study of textbooks.

To provide a basic frame of reference for this study, two re-
lated areas of concern to the classroom instructor in the presentation

of nonharmonic tones have been investigated.

'J
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Ho

1. Inc nature of musical comminication in the teaching of

music theory.

2. The historical evolution of nonharmonic tones as a primary

aspect of dissonance in harmonic tex ures.

Through a clarification of the grineiples and concepts under-
lying the phenomenon of nonharmonic tones in harmonic textures of the

ighteenth and nineteenth centuries, it is believed that understanding
can be achieved more readily, and with greater economy of time and
energy.

A preliminary biblionraphy of more than one hundred treatises
and textbooks concerned with traditional harmonic practices of the
eighteenth and nineteenth centuries and containing specific references
to nonharmonic tones has been examined for the purpose of this study.

The preliminary bibliography has been prepared from various library

1 2

card catalogs, Cumulative Rook Index, Subject Guide to Rooks in Print,

 

 

and advance publication notices of book publishers. An extensive search

of periodical literature for related articles also has been male, with

3

particular use of The Music Indem,

h

and Readers' Guide to Periodical

 

 

Literature.

 

From the preliminary bibliography an annotated bibliograohy of

l . .n .. . . .
Cumulative Rook Index: A norld nist of Books in the Enelisn
Language (dew York: Wilson, l928-date).

 

Subject Guide to Books in Print: An Index to the Publishers'
Trade List Annual (flew York: Rowker, 1937—date).

 

BEhe Music Index (Detroit: Annual Cumulation Information
service, Inc., l9h9-date).

 

lLfleaiers' Guide to Perioiical Literature (New York: Uilson,
lQOS-datey.

 

v-w

thirty-two books in the unalish lanfuafe has been selec‘ri to represent
the diversity of nonharmonic tone explanations and the variety of ter-
minology in use. This bibliography, with each entry numbered for con—
venient reference, is found in Apueniix I. The author believes this
biblionraphy adequately represents the degree of diversity currently
found in the nomenclature and explanation of nonharmonic tones, ani that
a more extensive working bibliography'would only tend to make orqaniza—
tion of the necessary data more complex. Preference has been civen to
those books in which some attempt has been made to organize the pre—
sentation of nonharmonic tones, to those which are listed in Books in
Print,1 and to new publications announced in advance publication notices.
The textbooks which treat nonharmonic tones in some organized fashion
generally are found indexed as "Harmony" books, as the presentation of
nonharmonic tones usually is given in harmonic rather than contrapuntal
contexts. The explanation of this orientation of nonharmonic tone
presentations rill be discussed in Chapter II in relation to concepts

of musical texture.

The instructional process in music theory depends heavily upon
systems of symbols and nomenclature for purposes of description and
analysis to aid in the develOpment of an understanding of musical
phenomena. The intrinsic difficulty of describing musical phenomena is
greatly majnified by the use of terminology about which there is much
disagreement, by terms which are applied in a vague and ambiguous

manner, and by terms which have multiple meanings. One is led to the

 

l . . . . . e.
Author-Title Series Index to the Publishers' Traie hlSt
Annual (few York: Bowker, l§hdédate71

 

 

conclusion that either musical structures tend to bo ambicuous, or that
the organization of subject matter in many tcgtbooko is inaloquate for
its purposes. The author has u1dertakon this study with the hypothesis

that nonharmonic tone devices are swbject to rational PKjlaqation WiiCu

will permit more efficient and effective instruction.

r‘ ".Y"’,."T m run—v «w.
AVI\.$L‘I1141LDJ;,J__IILU

I wish to acknowledge my indebtedness to Dr. Hilosh Muntyan
of the Collece of Education for his support and administrative
supervision of this study.

Appreciation is extended to Dr. H. Owen Reed for valued
sugwestions in many details of the study, including the benefits of
his research in nonharmonic tones, and to Dr. Douglas Campbell, whose
patient encouragement and direct supervision of the s udy has been a
source of much enlightenment.

A special word of appreciation is extended to my wife, iae,

whose encouragement and assistance has made the entire project
possible.

vii

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5»?
ti.

TABLE OF CU

PREP-‘ACE . O C O O O O O O O O 0 O 0 O O O O O O O O O O O O O 0 iii

Ls

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is
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CI“

I. 3.'\I: 'IICJ. ‘ :I‘: 1:? 1‘: I:L)I.J o o o o a o o o o o o o o o o o o 1
II. COTISOI‘IAI‘ICE A T) 91:11 ;\’ .A 213-13 0 o o o o o o o o o o o o o o 9
Historical Considerations
Nonharmonic Tones
Harmony vs. Counterpoint
III. ZK Jhuc<’TI REYES: TERIINULC1Y ALJ CLAssIbICAPIOH . . . 30

IV. NOWUAR"C UII'C TCWES: TERfIfiflliiY VLHIA TS . . . . . . . . h?

Single Wonharmonic Devices
Combined Honharmonic Devices

V. SI]:- :TfiRY A ”'3 {‘ JL’II‘ YC LLISIC':ILSO C O O O O O O O O O O O O O O O 1;)?
APPEIIDIX I o o o o o o o o o o o o o o o o o o o o o o o o o o 11:;
APPE:\;DI:( II o o o o o o o o o o o o o o o o o o o o o o o o o o 113

EIFL IOERAPIY . . . . . . . . . . . . . . . . . . . . . . . . . 12h

TTr‘m #1“ mar-.- run
, . - ' 11 =
3.1;“); \J- AIL. :4; Id

Frequency Ratios of Intervals . . . . . . . . . . . .
A Classification of Consonant and Dissonant Intervals
A Holodic Classification of Honnarmonic Tones . . . .
A Rhythmic Classification of Wonharmonic Tones . . .
Basic Honharmonic Devices . . . . . . . . . . . . .

Variants of Single Nonharmonic Devices . . . . . . .

CHAPTER I

CCKTUWICATIOX IN LUJIC

Communication in music between composer and listener occurs in
two ways--directly, through musical sound itself, the aural represen-
tation of creative ideas, and indirectly, through verbal and non—verbal
symbols which are the visual representation of musical souni. Hon—
verbal symbols are the elements of music nOLation; verbal symbols are
the terminology applied to the elements of music, including such factors
as pitch, duration, intensity, tonal and chordal relationships, and
schenatic representations of foin. These symbols of communication
might be classified as grimary——musical sounds themselves, and EEEEZIEZX"
verbal and non-verbal symbols which represent musical sounds.

In the direct communication of subjective ideas through musical
sound between the conqoser and the listener, oarticular combinations of
sounds evoke emotional, or affective responses in the listener. These
responses vary greatly with the individual, his mood of the moment, and
the particular psychological associations he brings to the listening
experience.

Susanne Langer suggests that symbolism in the art of nisic
communicates an awareness of subjective feeling and emotion by giving
form to inward experiences. 'A musical person thinks of emotions musi-
cally. They cannot be discursively talked about above a very zeneral

level. Nut they may nonetheless be known-«objectively set forth,

kJ

publicly known-—ani there is nothing necessarily cenfusel or _or less

about emotions. As soon as the natura forms of subjective excerience
are abstracted to the point of symbolic presentation, We can use those
forms to imagine feeling and understand its nature.”1

Because of the diversity of backgrounis and experiences 0
viduals and the difficulty of symbolizin: emotional exceriences, atta.; s
to communicate accurately the meaning of affective musical eugeri<nccs
are intrinsically difficult at bes For this reason, the unirrstandinr
of music sometimes is regarded as being relatively obscure of access.

This apparent ooscm‘ity frenlcitly is increasel by the confusion of
objectives in the teac hing of music appreciation courses.

The teachinj of ”appreciation” frequently is confused with the
teaching of facts about music, contributing further to the sense of
obscurity of music. Alan walker describes an7r eciation as a psycho—
logical conii tion of unconscious iientif ication with the unconscious
musical ideas expressed by the composer—-a communion of unconscious minds.
This occurs indepeniently of any knowledfe about music, and the pro—
fessional musician is not necessarily better equipped than the larman
to communicate through musical sounds.

The man in the street has nroved time and a" in that
riven equal onnortun ties of assi mintion his rcs7onse to music
can be jist as viqorous as that of the nrofessional. Iniced,
the closer we examine current notions regardinz musical educa-
tion the more ridiculous many of them seem. No one becomes a
doctor in order to enjoy better vision. Jinilarly, you do not
exocrie.ce music any more intensely when you have become an

'educated' musician. Chis is one of the pstnblishment's sacred
cows and it has been my experience that nothing can buije it. . .

 

l \ r \ -u . a .1 v
susanne h. Lanzer, .hilosoohical sxetches (Baltimore: ihe uohn

hepkins Press, 1962), on. 62-5).

 

Perhaos when the finiin s of noiern osycholoxy have maie a
greater impact on our thinkinn we shall see the situation as it
really is. Until then, we shall continue to unierstand music
despite our educators rather than because of them. Rut if ana—
lysis does not play a crucial role in our response to music it
nevertheless satisfies a positive need that the professional
feels. he may still wish to know why he knows. This is the
primary reason for his education and constitutes the only differ-
ence between him and the musical layman who sinoly knows. tnce
we have accepted the View that the role of analysis is to ex-
plain the experience, and not to prepare the ground for it, we
see its orovince quite clearly.

Studies of direct connunication of ideas throufih musical sound,
the primary type of synbolism, thus are nroncrly relefiated to the fields
of psycholo"y ani aesthetics. Phe realm of cudajoqy in music theory,
while necessarily based upon direct, or aural comnunication, relies
heavily upon the secondary aspect of musical communication, the use of
non-verbal and verbal symbols, to orovidc a relatively precise descrip-
tion and analysis of the structure and texture of music. The grammar
of music lends itself to much more precise description and analysis than
do the affective responses to music. A specific technical device can be
described referentially by a word which represents the device, to the
extent that the word is tied down by definition. Consequently the
teacher of music theory must have a judicious concern for terminology as
a form of symbolism. The use of terminology having Consistent meanings
is essential to the formulation of concepts ani the ievelognent of under—
staniincs. Verbal expression of nnsical concepts depends upon the
meaninzs of words. Then a vague or anbijnous terninolcry is used,
efficient instruction becomes more iifficnlt.

Traditional semantic theories treat communication as the orifi—

.J

nal function of language and of al forms of symbolization. In recent

——-—- ————..-—-.--._‘-—.--_.----§_

lfilfln Jalker, A ‘tU4Y in Tusical Analfvis (Wen York: The Free
"‘ ’1 , f r "V— A
Press 01 lenCOf, 1902), p. l;O.

 

‘, ..LV ., 1 .- , .} ,- i' .2 _. 1., - ,1 \ .7
3'€<L3‘t‘ v?*(‘ ti<:n1;1 {ml :uann. rrt_Lc_L: t:; infirs- I‘(.LL1;(1_, Tic. tric;c .lt: ll.4n {911‘ . »1'..3

. - 1:, ‘ , m . \ e.-‘ ‘ x .. - —. . v A r .- y‘/‘ n 2
too loostlyv, and t‘t t tnere is too “law a mdlgin bat.rrn the hC.~ an.
. ‘ . ‘ ~ “1 ‘r w~ '\' F,“ . ~4 - I; - —.-¢~ \ A y»: ‘V1V¢ -‘\‘ qr Q
the thing Wnich the no.4 r ;.cscnts. -Le iupoitan U of ccnnpn;h uht'l"
\ 1—", ~ I , v . ‘1 v . - 1 \V ‘. ‘ ‘v 1‘ I!
stood symbols and terninoiogy in the unu rr: tailing bi the alt: lo QU{’

we {ate} by Susan ne Lan ger in him recent essay, in a "en iefiniticn of

\J

 

"Symbol". ”Any sign, . . . by being conucntionallx assigned to any
object, event, quality, relation, or what not that it is to signify,
bestows a conceptual identy on that designated item.”1

In scientific discourse it is necessary that words be referen—
tial, as it is the thing which the word represents which is incortant,
rarely the word itself. Luch confusion in n.usic re 11Mt from an atte~pt
to izientify the lan uagc of emotional excression with the lancuaee of
musical science and craftsmanshin. It is in terms of technical struc—
ure that music theory must be discussed, even thoufih music tne cry is
concerned also with enotional meaning.

The theory teach“r is engaged directly in structuring the
gram ar of music and in (stac_ishi.., the tcms of its vocabulary as

atechnical language. Attempts to structure and systeratize the stuiv

of traditional harmony for efficient classroom presentation have ad—
vanced with a continuous evolltion since nisic theori<tc began to have
a prirary concern with pedagogy about the bee‘nninv of the nineteenth
century. One of the first attempts to establish a systematic clas sroon

presentation of harmony occurred at tie Paris Conservatory at this tine.2

 

”R
l\)

Lanaer, p.

2 . A . . i . .
Donal-d .heeler rackard, "seven French ihCCTlStS of tte ginn—
teenth Ccnt1r}" (unn1u slfd ’h. D. iicsertation, Ernart ent of Theory.

1
nivnr“t" ofI :ochestcr, 17'2), 1L30,.

r11 . 51:1- 1 V 1 1.- ..,.K .- 1 . .. ,. '1 .- i, .1. :-
ine o-iiCiai teitcooi cjontci ans a Iori ur_ttvn Ly J. ;. ow.v~, iza to

H

 

'7 . 9 r L‘rn‘tt I. 1‘ AF" \ ‘1 ' "‘ '“' ‘I “ ”‘ ‘I‘ "“ ‘ .J‘

d'.armenie. Pcicre til. tine xoon teacher tqd3ht his can COHL'1J; o-

‘L‘ L 4’ r 1 1‘ *1r Ir‘ r ‘v 1 ‘ f w ‘ f‘ "I ,V‘\ -— 1 "‘4 Ar‘v '?:Pv r:

theory nitnous the a vansabe of any :tneraily acccytcl or soaiimriise.
,1 , : ,‘. . . ' . . V ,3 .. L- ".‘1‘ , 1, 4..
F"-‘~‘~3IO,-f..cal Proc<11-.ur~.:.. to {Iii-1i his stuuunts. Hie .1 1/1] i not- re rt >11

I"

the beginning oi a continuing levelocnvntc ttr :tbooks lesinned for class-
room instruction in theory, a divelo1uent Which has continual Jith in-

cr¢as1ngenthusiasn to the present

A. A

time. Lusic theorists, in their éfiorts
to inte gvret the practices of musical composition of the past to each

new generation through class instriction, cane to have a primary concern
hlth the development of new extboolzs. She evolving flow of texts con-
tributel to the s lnticn of many pedagogical problems with increasiig
ingenuity through new or :ni ization of material, new classifications of
tonal relations hiss, new refinerent of terninolo.';y, and new instructional
procedures to meet changing edmlca ional needs.

In cim11ss in" no.aco"1cal problems in the teachinz of the arts,

n
L

Tacer and Ecirath state, "The stulcnt 0‘ art enjoys much greater free-
dom of subjective evaluation and interpretation than either the ohysicwl
or the social scientists, but the inttllcctual procesnes Ly which he
deals Hith reality are no less important than those ennloyed by other
discip lines.‘ "2 While the behavior of musical phfinomuna does not de’
with exactly measu1able charam ter sti_1cs, as do the sciences, .nilv~":
and description require a precise terninolozy devoid of anhiguousness
and contradiction. In this respect the write1s of texts and treatises

on music theory have been particularly lacking in agreement.

 

Charles Simon Catel, Traite d'flarmoni: (Paris: Bengal at

 

"

Willis J. Wager and Earl J. Kcflrath, Lioeral Eiucaticn ani in Le
(New York: Bureau of Publications, Teachers jolleje, Zolcnbia University,
1962), p. 9.

 

"T“, A o v" - -“-.- J" .‘ 'v—‘ ‘r‘ '- r ‘ 1-— i — ‘~ V..~-.¥ -: ~; ~-
$.1tf drf‘a 0.. .l‘A‘JLC b lCJFy .thi h (MN/71$: U0 ha‘Vfi LC 1" i...w. 41 1.;C'.\ b

from the efforts to ayatsnatize ani ‘41”;r""e the wefinition oi hir—

nonic materials for ingtructional ourpoceo is that of n:nna1m3nic to 165.

The study of harmonic anfl uol oiic devices used by congosers during the

; in vita 1y to a 3“nqi1eratin:n Cf non‘a1~rani

'fl

‘aat three centuries loai

' J.

n u' “MEL, ,. .--- .:'| \
- muulcal UK. :J'll C“ .01 15-1"..3‘ :.C U'JLU'IC.» ‘2'-Ll [JO

tones as a vital asoect c
regaried in this otndy as dissonant tones uaed as oarticnlar novice; to
or ate tension on? motion in music. Tariows ao_r*ts o? the tar? ”non-
harmonic” will he considered in Shooters ii and ill.

An :X:mi-otion of tho muSic theory books in general use flarinc
the twentieth contury reveal: about as nany diffnront methois of ot-
;laining nonharmonic tones a; there are trxtco oks. Xioh confusion
currently 3x y_sts in the vzxrictv of twrma used, in the 9ivergcnt and
contraiictory explanations oresentej, even within tho same textEo ok
and tie comglete lack of any staniardizoi classification or irfiniticn

W

of terms used. anmgla‘ are readily founl in r ich the nasic illustra-

tions used contradict the definition of the particular dgvice pretentcl
in the text. To aid to the cnrfusion, multioi . meaninjs sometimes are
used for the same term. annoles of variants in terminology will be
presentei in Chapter III and Chapter IV.
The problem of effective comnrnication has Econ a :rowin;
concern of (o‘trniorarv v‘ncttwro and \E‘70n0\n‘ra. A nnmer o; JY65€3
flav linguistic pkiloaonhrrs rlgari a study 0i the way worls era us(i a;

a.

the best way, i: not to solvc, at least to underttand firobicm5.1 An

 

lEcview of Fly ani tEe ilv-“ottle, by Y:l 'chta, Sim“, July 12~
1065 n 98
/ J , A O I O

exrriination of the dii fer cnt ways a word is used proxmii an insifiht

' r‘ ‘.. L» 1 a .1“;- '4._ 3-..”: an '.,.. 4 “.4.‘ :wvn
into all tnat can or Inn n dHUJu i,s ”ca.-nb. ,oumunicuuion i. ‘xsicUL

‘ I
t...)
"I"
q
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I

A J -~, n, . ;.- ‘ (Ip'fi‘j'. (-1 \«x~ \ ,- p p 1‘, I.
theor3r and ptiafiosy nus oxen ha13ica3,:i h15the la 0, a w.u'

ulary of terms which have connnnly acce ted definitions, an} which lend

themselves to logica-

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.“o o vague, loose tzrms
generally las proved inadequate for effective instruction. fhe uroblem
is being recognized by a nujfotr of the authors of recent textbooks.
However, little evidence can oe found of any LOAUICCEQDLVE inVesti atic n
of the problem t‘at inight proviie a satisfactory basis for its solution.
TIo stan lariized nonenclaturt of nonharmonic tones and no s» tan d ariiLci
terfiinology has been agreed uoon.

I“

7‘4‘ “ 1- ‘..- .- A.‘ . rt; \ r ‘ r‘ ‘. 4V ‘~.V\ ‘ ,‘s w‘ ..
A study oy ,arVin unidentcr o sonn Cable tor LiOlO y use; in

t:1r t'-2ching of nusic tfeorv shO's that many of the textbooks in use
today do not define the technical trrns used for musical devices, and
that freque tly some terms are used in such a ray as to iniica+c more

0

1
n . rt -“ (~.n~r ‘ ‘ ’ ' 1 “ u " r~ ~ ‘~ ." "finn. ‘
than one meaning ior thw odui term. jhizcstor presents thy flfQOL.;LJb

that the lac} of precise definition of fun iancntal terns constitntts a

_o ~ ~ 'Q V 0 1 ‘ fl “’ , a“: ,‘ ',i ‘ A ‘ ‘ -,
tTlOUo probicu in the tCmChln' of basic a“. aJVancri theoiy classas.

( V

U}
I‘h

'i

Shidester selectei a crelininary list of sixty commonly us(3cz musical
terms for consideration. From the prelifiinary list of sixty terms he
selected a final list of thirty-three terms for use in his study.

This study presents no explanation or ba-is for the choice of the par-

I.

ticular terms used, and, as do other similar investigations, merely

 

ud3r of Some Funianontal Xusical Terms."

debtor, "A St
' ‘ {ou ton Jtate Teachers Tolleqe,

It is of interact to note that the preliminary list of trrms con—
tains six commonly used nonharmonic tones, and that the final list can sing
only OnB--t3P organ noint-dwh1ch has the least div rsity of definition.

3

describes the prob em of

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5‘

O.

presenting has or its

The analysis of the function

what nav seen duh

8

breaking down of an indivisihlo
flTSE ste1 nust lo the F"&7‘

functioning of musical languafie.

lating the elements of

musical t
terms of musical vocabulary, we
communication.

of basic terms

nitions to the various elencnt

of music theory is con

terminology

ination of snall~stcy cxanélcs

of m sical vocabulary and

'ariants in some iatail without

solation.

P 1 -' .-1 . ,- ,.,., , A. :.-,_ ,.
OJ. "‘ll.)_L(j<_Li_ ln‘lv‘, 3111:”? '1‘ C1_' _;._1L.,¢1.t,kfih,

ious firocniuro fron a subjective noint 0? View, the

o
‘1
A.

Y
A

u ty into its connonent parts. The

of the total

icrYCk jovkc observes that t

.
- ‘.

a" L.- k -
‘l

. .1...‘ ..,J ' 1 ‘F‘..' ,. 9-1 IRA
flgrtoolOfl a1i idencii3inh one on- o
}y\‘ V" ’ “f J‘ ‘r‘( 11' 1, N ‘ 1-” -,\ Y -' v‘ .‘ Yr 1" "'- I
l - it- v.1 . (19 LL]. (1. 1. 161" ”11 k A. n rA A .

v I
*1! 1b

hr :1 (‘1!!‘1‘ a r. 'w’, ‘ r‘. _ .‘K n"—

U. ~- ~. s “*L)‘ .Ln 0;. LngCia-E, l ..'-l
O .-a‘ 1‘ ~ I '~ I1 + . ‘ r ‘A» f 1 ‘

3.; 1;.]JlCdl utfdjv'lft’, tacit tffi.‘ fl";.i

much vagueness in communication.

 

"1

I
«b

lDeryck Cooke,
Press, 1959), p. QD.

l- -
1H:-

' T 1 , n
r“.‘-'\ "\‘1 " ‘
.J»uL.aLv'. \UL

. _ ‘
mJolC ( iori

Univ~rsity

CHAPTER II

y‘w‘ r- “\v'q 3.1m” n‘ ‘." ‘ ("ft 1”,- ‘yu. V

\A‘.L)(..J.-Li.\-,LJ gm.) DIauC’.«A..bE
'71 ‘ 1 r . ‘ ,‘ p’ - 3- o ~ /~ A r. v ,- ‘ fl _ l v .
LhC relation oatueen dissonance an} consonance nan lonq bern

u‘

a concern of musics; theorists and sch;lurs, and is a basic conciier-
ation in the study of nfnharnoni: tones. iissonance anl consonance
are manifestations of life processes evident in almost every asgect of
human exficriencc. The harmonic textwre of music contains sowe balance
of dissonance and consonancc which is usually characteristic of a
comboser or of the period in which the music was fritten. Go clear—cut

. - . "- .I‘\‘ f‘ "I ‘ . 3 . " Pfir-‘t‘ ,.‘.- 1 x r- r‘FF‘ \~<
differentiation between dissonance ani uctsnnc H; can Ce male, oi,e»t

possibly through coiification of the mwsical usaves f01n£ in a aorti-

cular s'ylc or period, and the aroitrary acceptance of a iiviiing line
based upon accoustical considerations. In general, dissonance is

created by those elements of harmony which give a Feeling of tension

‘
"V

or disturbance, anl consonance is created by those elements mnic
a feeling of relaxation anl rest. Dissonance ani consonunce can he

thought of in analogous terms which represent energy in contrasting

L

’ frrqwentlv use}, bus

states cf act1v1ty, such as dynaxic and static. a

 

. ' ‘ n L P I . A 1 f1 ’: 1 f‘ \ u— ' 1 P l ‘ r‘ r‘ "
inaicquace, analOfy is founi in tnw tfrns unpleasant .nfl

‘--~a

olcasant.
All such terms are extremely limited for precisely definitive par Gees,
as the terms indicate only relative or subjective relationships, as

g
v

do the terns dissonance and consonance themselves. gnaLOgous tern:

 

suggest criteria for making subjective judngnts ahont the relationshit

o . . - .. , .- i u . ~ . 4-
0L 1iL‘LO:C~:1i—: {ln_1 us):.uvn‘ .1 ( J ‘ U U
’

s o L L

r a UQCJCQtiVW Jasper.
As musical textures become more and more c aAlex, the ’Tjilffl

Y'f‘"'

of establishing a work fit e iLll.ltlQn 0: dissvnanoe becomes fore .i--i“

’44
'd.

nlt, anc ncreasingly involvei i: the rs/choloqical she oneicn of

O

' IV

ffective musicalr CW4;er enoe. inc particular ba la m1 tveen disson.xice

f.)

and conscn.:ncc fonni acceptable i: the musical textures 0

period is a later in‘inr factor in the evolution of mu mi al sty.l~. "She

\
4

‘Q ' 4’ ‘3 "I - ‘ ~ M (‘r ‘ 'v .-.. ' ‘. ' V“ -t —
._-.‘..5 MR?! Oi .4(;btf‘31‘n “H.310 T‘LC‘ t 1 .Si a " Cfitl ”11.10118 stri V7 1;)?‘1 * i 01 :1 OJ L- 1-13.- J31},

fl'f‘ . ‘5 I . (‘(‘ \‘ x” ‘.r‘ l r ‘ )‘180 ' qr. “‘ I, ‘ “1 [it j |A‘”I"t~-: q. ‘ ‘nj‘ ‘h i r- (-"(‘V‘ 0" t ‘\r F';
roulo Oi (.10...)an .Lt, ri.1.. C( .. rid in , c. I'.i.¢ , ...1....u.1. u-.'--(... -u #1.. J .i ion“. 4

or fina-izci. The human car exhibits vary3n~ degrees 0? tolronncv 11s“
regard to the amount of dissonance it finls aocattnclo.
lute standiri of Jissonancv anf censonnno“ can he cit hlishrd at in?
given time, with the result that the definition of any sati‘f ctory
relationship is Unoi_v relative.

ilw ieva l tchiiixion zrttexiptrxi'to 'h firm: ifYtC1“flLi5 :1; ‘ixgcgrua-
or consonant in a.c.;01‘:‘iémcr': with fthilosoo‘r"Lea-Ll a;:u.:'.11.at.ic>m: r~*',"i,".;r3‘~'1,:-t

4- o~ : \ ‘~ .~ ‘ 4" H 7' 1. ‘v 1'»‘ " "'. Ax“: ‘4~ . Q ~’ '«I-- -. ‘~.
one relationship of cones. ball, ”LujouLbLJ s to lei; cgoq out «a:

as the foundation of jqdjnent are fouxi, however, with the grajtal
disaggearance of philosophical attituics to music uni the increased
reliance uprn practical jnignent J9 an rucisian. dchannes -;.,;or1s
(c. lhfii—lSll), who coatilci the Firs: filsic iiation;“y about lh?:,

. A . f‘ ’ n .~,-§- s « r‘ r 7“: ‘P. a - - r' \‘ ~ .v ., . V . ~‘y a
lriin(d a cone r} as "tie JiAvnrc Oi tuo witch:s, “syn! i: steti: t)

. . l -, n. . .
our car: by its natiral Virtue.“ :0 delincs a iiscori as " a mixture

 

lJohan nnhs T nctoris, The Art of Tonntcriolnt. I
edited by albert Scay. (AmcrLcan Institute of jusicoloqy: ”n51;o

a ,. ‘, / AN
Stilies L11 Documents, no. ), l):l), o. 12;.

 

0? two git

1 ,

‘ ‘ r "_11‘ C‘,‘ ' ,M
3103 naturally o ,Onllfig tum c

woiey upon the car F tho liotnnn: in an

‘ " \ - ‘1‘” r. y a, . 1 -. f‘ l“ , ~l ; ‘ —' ,
QONdnLP pr<ucntu JIQQLHKo oi irftnttion.

h ‘- 4.~ , ‘1: ,‘Lh‘ .. . ‘ ,. ‘
”wife Illl‘ufl‘fll‘ COFfiA.).-Ll‘..Lu;w .r' .L loom; "Apt.

aegitoné being simple, thn ton> an} a

-, n M
.LE? L 31‘an

‘I Q

.' L
O! Z..L.\ u

D I v i ‘I‘ ‘ :1 -r . v t \I". ." ' “5
401.1 VLV£CLJ, l;1 ‘JCA‘JtJ Qt

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(101.90 .1

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:d

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after the

unison, and muvt be

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if)”, ~).L.-

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'0

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JJ\)J ~\; ‘41(1u).) -4. A.‘ “.‘ 'ILK‘ 4(J) §nJ CLII

n. ,‘ ...., ..'.,- an... ., '. .1
{JPN-l 130.1? 37.1.4131 -IL'H) It’I’.V¢') fr

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m... r,..}. t' ,1.
(1;).Jl Od\l 1 ) at1\§

t . . . .~ . v. ' 3 - \
tJdu-ib as a bclnl': ..il"1’.‘-..‘)lfi t}.

\ . V ‘. . .4. 4. '
C(filfidi‘; tlflétf‘f’hu

4.. .. i, ,...,., '1:.,-L
one or two otags dd_ . ii1ctc

,. .' -. 4. 1.. , .: .‘,,. ‘~, ,. p
Conleurabtd during t1 Lirot io

, ~. 1 . ,v
«11". .f“ glr‘fl’fl‘.

0'1 ht?

cation of

.
.;e‘mu‘tur

+ r ,‘ ,.
;LV (4 .1-.|;~’

.3 .313. ,4
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u.'-I.‘u oil ‘--“‘ t‘ r’ ' '38 1‘ “"1 " I ui‘.’ l’»-".1 lib LOWS Z. 7 ,
. V ‘ ' - .q

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D) L'.) L'. .'.].L [(‘.‘LT.~.A.;L7-AU )4. ~-L ._ -2(JQI‘.~K) O _. J. «.L A ~;‘(J U‘J U!

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M
H

In establishinj his ”rules" for the arra n~ciknt of iiscoris,
Tinctoris ta<es into account the aesthetic cone its of his time as well
as the scientific data available to him. He conveniently fails to
resetnize that he forn1_atvl his "r7~fl.e.<;'l by rma in? earlier ones, an?
that the so no acaiemic )rocess nicht well be a>)licl to his on.1 ccn-
clnsions at a subsequent time. The fact hat llPoOTl) re “ociizei the
conflict between aesthetic anJ scientific concexts of iissonante, box-
over, is of continuing significance.

An interestinn hypothesis is advancei by Iosco Jarner that
every period or cencration hai its 'wn norm of dissonance, and consid—
ered its own norm as absolute.1 Each new norm is achievei by the
gradual assimilation of added dissonance to the accepted patterns ani
ways of listening. What in one ceneration is retarded as harsh disso—
nance becomes accepted as relative concordance in the next veneration
of listeners. As this process continues in our contonoorary culture,
the ultimate ability of the human ear to adjust or acclimatize to dissa-
nant souni combinations annoars to be without limit. The reonircnents
of tension and rel a"ation in tonal nnsic are met by a relative relation~

.

shin of nicher and lower decrees of arsiness or ii m:; r1.

I

O

A recent observation W"mun" the nroblcq on dissonnnc: by

Alan Talker points out the inaie001ac" of thnl anS of nusigal «107.1fl
to exclain dissonance.

chn in the most elementary ways 'theorios' which are
universally held amen: musicians fail in the most lamentable
fashion to explain some of the nest tvnica )henonena of
musical lanrnage. Dis 530 nanze is one sue h henon .non. It is

- O -. 4 -_.—.-~ “-_.“—_m

l.‘fosco Garner, Twentieth Century harmony (Lonion: Joseph
Williams, Limited, l9h2), p. 3.

 

30

tion of Lhis TEFQ and

i

exa~geration Lo LC‘

+
L

Cf

§_‘ .‘
LIN-II

L'PVA'Cw ‘I'iu :.l :3
ore cannot

;.r.. J‘
LatiS

’\
1 cl L

 

 

 

the effect. ;ne axziemic nation of iiLumn:1n;C is a gecuilar
one, an! is in cunflic; béth L iLh aCLL LLiC 05 a1; “CCJULiCQ.
tn the one hand iL afJfafp Lo Last no a CJJRL L? Lie fvcb LJLL
Cur aLLiLHIC Lcwur35 JLLLLnaJCC V'LWLHCLLy 'flelL2Wb' widh
Linc; the 51911 0; Coannnncv is CCWLinJLL enlargii‘ 3L Lhe
CKHC‘SG of disbonanuC. Ln LEM othtr han¥, iL Labr-s LLJJ :
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tfir .ajor Ligt*'L he i'unl hart via contrxt. ”UL Ear? mic
C(JIILCXtQ “131:0.
Th: natur: 0’ iigsmfimncc must be Czazifir* from E0 h
L53 fi"v“0Lfl -381 (at thtic, an} L3; Lhivfibifiv RCOWLLLI,
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Eelmholtz, fcurths are wore codLonCnL Lian LVA 1 L LCC.ULC
LP‘ ‘CCaL' lGéb f0 musiLian can achpL LJiL. "r5<"rr
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that in early ”CNiCVQL Li.Cs LRC C~nut LEVCTSE uscl La L3 L1
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cur rea~tions Crve Chan"0%, anl LzCre i no rCuLCn Lo annC e
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instruments of the modern

shown, for example, tha

pure intonation OVLr thu

former interval has a ratio of

ratio of h39z293, an extremely

1"
ii 0

point of vi

cannot be crioei to czlt

kcvhoard instruments, but

Seventh
févmnth

Coconi

physics

This choice of

sf: ctory r"jla

.4xo

a w. a.» _ ,w. L .t 4.1, n V -, _ ..-
iron .,N‘viH0Vt twtflm t‘at t x . Lch- i
\ ' ‘ ‘ ~. ‘ v ‘ >~ D r. .V-«J‘ a" -‘
qasr as tho rhqflpir‘ IaplOo or t‘w 1:, *w L

2.
I'r.‘~~\
(ii‘l \Jle;t

"‘A‘a'tv l'Tt-O

n9
\’ ‘,
L¢1~

fihnfiourna. human Car risioi

I‘
.

W
-C_L

.and “Gnu; -tfln€"hfifi; tha

‘7‘:

laborELtory. Various studips have

:hocm C thfi nerfect fifth of

fifth of equal temperament. The

3:2, while the latter interval has a

disuonant interval fTOh the accoustical

the theorLtically ii<oonant intcflrv

ira l conliticninx, even among gleyers of
has to do with ;sycholo~ical nonbiloritions

nation.

A very recent serirs of cxvcrimrnts indicates that thr Ais-
criminating car of tho muoician dons not chootc (itWo: ju>t intonat101

1

‘-

or aqua otnrcrgment in

m

1:)

H'

choice of hitcheo

nroducinj

vaila

A .‘-' ' 4— r' ‘ My“
maloulc intervals LLQn

hlc, but actually prefer: intorva

a.

' F . ‘0' 11., .,.V 3‘ .‘:.('c -. f b".'.r ‘.‘ . p ‘ ’ I ‘z‘ ‘I 7“: 3" " \
which are extnm l ”oz-(:- .1_L....sonant tnan thUuC‘ oi the t.1co1 {‘L»-~.C,ci.l_ tun—

inxs fleternincl by the mathematician.l Usin" a2 instruncnt to Turnish

)

1,,

an infinite number of pitch livisions within tnc octave, the ear tcnls

to select interval ratios in a melodic line u‘ich are conslicrably

more dissonant than the intervals provided by the thccretically correct

tuninjs of the just scale or equal temperament. These alternate tuninr

(”f

chosen as corrcct by the car have been termed "referential tunints” by

Voomsliter ani Cruel, who conclufie that "The error lics with the yard-
. , .L . . H2 1 1 *‘ a _

SthK, not With the musicians, any tnat tne court 0: last resort is

v“ ‘ fl. .r‘ r‘ r‘ ‘ ' ' ‘ ~v\r' ‘Q’. , . v . 0~-~ 6‘ ‘, » yfiar“. s‘!‘
the car oi tne musician, afld not the mtaouiin; lvlicUo oi the jhxnlaist.

P-‘l

t is obscrvcd that all ncloiics contain an inhnrcnt tension
and motion toward a lcstination, startin" an! cnlinf with tho fcvlinr
of rclaxation which is normally the cctahlishcd tonic. The authors

fircscnt the hynoth~sis that ”rxtcndcd rcfcrence is the charactrristié

4"

organization of hcloly; it is nossibly the chic; sourcc (although

.1

certainly not the only source) of the tension anl rclaxation that go

"\

into a mclody.”J The invcstigation of ”exttnlcl reforunce‘ is orc-
sentcfi as a nun approach toward the formulation of a theory of melody
construction, which, to date, has not been lcvelOQel satisfaCerily

by music theorists.

This previously unrecognized phenomvn, urovijing new evilence

 

l“ v - . a . , ~ \ a
raul C. Roomslitcr and u'rrcn trccl, ":xtcnlfil wefierence: An
Unrecornized Synaxic in Hcl fly,” Journal of fiusic Theory, Vol. VII,

70. 1 (Spring, lQhL), pg. 2-22.

 

 

that musicians are musically nativatefi to create tensicn ani relaxation
in music thronfih various devices, :ives Further iniication that non-
harmonic tonrs may have evolvci as a rational mrans of creating and
"otatinc tension anl relaxation through Witch variation.

The tension—relaxation concent of iissonancc, beinc a conceit
of relative meaninc, has lonf hrrn consilercn inalvqnatv an? too *Fnrral
for theoretical qu“OJfiC. In the vxnlanation o” harmonic intmrvals,
various attcnnts have hcen nfie to formulate clear ani exact )rinxi;lcs
to define dcxrces of iisconancc more precisely for yeda;ogical ‘nr.osas.
Tecause cf the extreme difficulty of a fining consonance anl 3isso—
nance as princinles, the tvrms have been auuliti in a more or less
arbitrary way to sfiecific interval relationships found in the overtgne
series, ani the inversions of these intervals.

A classification of consonant and d'ssonant intervals based

upon the overtone series is given by Roger sessions,1 and is shown in

Table 2.

 

 

V? v ‘0 -\ r- ‘f I ~v ‘_ V' ,‘V, '7' A ‘ v‘ rm
tarnonic tractice \Jeu 1013: tllCOth, 'ra.e

“"(T‘\

I A r
t u .u'xu‘) Li

Consonant Intervals (thooe

 

l.

Intervals

1-1. T‘Y'T
L‘A.’A.LJ 2
4. »\ 4‘ r »'!‘f‘r\ ‘ l‘W‘I F“ 1"(‘
‘ A, j. u YLQQC In H .MJL)
A ‘ * V V. 1-. 0
intervals rrich are lound

within the trial)

based on the funiem

itéxl:

Icrfcct Octave (lst and 2nd partials)

”erfect l'iftb (2n1 and 3rd partials)

Iajor ihird (1th and 5th partials)
2. Inversions of the above:

{3rd and hth
(5th and 6th

partials)
partials)

Perfect fourth
Y'nor Sixth
Intervals fOI

the upper octaves

other than
iunuamental:

361 by ovcrton<m
the

 

Xinor Third (5th and 6th part ials )
Iajor Sixth (3rd and St‘n partials )
Dissonant Intervals (those intrrvals which are not
found within thc triai)
1. seconds ani Levenths (both ajor na A130?)

Tritones

All other augmented and diminished intervals

The above classification may be summarized as follows:

Consonant Intervals

 

All perfect intcrvals
All major and minor thirds
All major and m nor sixths

Dissonant Intervals

 

All major and minor seconls
All major and miior sevenths

fill antmentcd anl iirvnisnrd intcrvals

*istorical Tonsileratlons

 

fiissonance may ocnur in the
of tones, art} also in.tlufi‘vcrtical, cn‘Eun“nonic Inilationsliqv of tonas.
The mathematical ratios of tonrs in the teuq<red scale eroviic onlv
the octave as a sure concordant relationshin, with varrin< Irfrees of
iiscord present between the other intervals, dewenlinc unon the mathe—
matical ratio between the tones considered. fhus a sinrle nelo ic line
in the tempered scale contains vargii; degrees of lissenancc in tent
relationships. Ehese lissonant relationships occur in succession ani
only imply harmonic relationships in reference to the implied tonality
of the meloiy. She melolies of plainsong, created without any consent
of harmonic context, provided only a very limited awareness of lisso-
nance resulting from the choice of neloiic intervals use}. Dissonan30,
or tension in monophony wss eXpanled primarily ChTOQTh Witch variation
in the develonnent of ornamentation anl lecoration of the basic neloiic
line in nelismatic fashion.

Tissonance having a more direct and immediate in act than
melodic dissonance can occur only between two or more aimlltadeouo

h

sounds. The awareness 01 dissonance became a more conscious rxuericnce
when monophony gave way to the relative indencnience of two voices in
partwritinf, beginning roughly about the year 900 A.). “efore about
1600 A.D. connosers wrote entirely contravuntally, although a ruii-

mentary kind of harmonic and tonal framework is inalicit in the counter—

point of medieval composers from about the ninth centurV. An increasinf

(-s

awareness of the harmonic aspects of simultaneous musical scunis point-
ing towarJ the deve10guent of a harmonic tonal system is founi in the

V

thirteenth century. Warncny iGVclOQsl out of counterpoint, with the

ggrowing sense of tonality proviiing a new concept of tonal orfa niz ation.
The calential formulae of early counterpoint led to an aware-
rness of fixes rolationshins between chorls. The caiential relationshi‘
of traditional he rmonv and the relati onsh -fis‘hetneen the normal chorfi
fprocres sions' around a tonal center were 0 t Llis::ed by the eni of the
sixteenth century. In ivi uzl colLinLtiois of notes as isolated nheno—
:aena hal no harmonic si~n-iistnce until they ..ere related in a musical
context to oth<r chorls ani to a tonal n ter. Lost of the diatonic
triads, includin: the major and minor choris, an! the choris of the
sixth, were derived from the interval techni cue of rolmrr ny. The

practice of using mm] ica ficta, or "false n:>tes," and iis coras latent

 

in the older c ntrajuntal technique, provided the Lasis for chromatic

chords. She practice of musica ficta included the use of B flat, F

 

a

sharp, E flat, 3 sharp, and u sharp by about 1325. The develooment of
the nodal system into major and minor lzevs l<l to the estal lishnent of
fixed relationshins of chords to a tonal center, "hich develoaed to a
hijh detree of perfection in the seventeenth centurv. The iivilinj line

between the contrajuntal nrocess anl the harmonic nrocess is lot in any

p

way clear-cut, but lor historical convenience usually is ilacei at about

the year 1500.

.‘1 ‘\~ ‘. -:; " *.~ V r c ‘ "
-he history of ha ‘nony has seen aiviiel ll a eicral JflV or
i‘ '1 .

Allen Warrett into three major periofs:l

1 H“

o I
v Tertian larrony \c. .apo - c.

l) Pre-fertian Tarnony (c. 930 - c

2\ 1- \
I L-' /

3) Post—Tertian Harmony (c. 1900 - tuC present)

Allen i. fiarrett, An introluction to dcscarch in “usic (nast-
C.: The Catholic University of America firess, lagc,, o. my.

 

Pre—tertian harmony consists of shordal combinations Latex ,ri;ariiv
noon the so-callei perfect intervals of tnr unison, octave, fifth, ani
fourth. Sertian harmon‘ begins "ith the establish ent of the triaj as
the principal chordal entity, which regains Jreeninent until th:
twentieth century. Post- tertian harmony encomiasses the querLien t—
ation of t'ectiCth centiry nomoser. in deliberate attCiTCs to iis-
cover not comoinations of sounds to reolacc those of trrtian harmony,
such as ch 2121;; bases’. uwon ‘3‘.1')(>rin'>oseaci fourths instea’: of thir’is.

As the devclo )mPT t of chorl and key relationshius evolved fren
the s'xteenth century onward, harnrnic rhythm became an imwortant
feature of musical texture, charm; terized by an infortant chanfe of
harmony on the first bert of each measure. Harmonic dissonance ani
its resolution gave strong imnlications of rhy hnic uulse, the use of
which parallels the levelegnent of measured music.

The new concepts of tonal relationships became very attractive
to composers, resulting in the abandonment of pure contrauuntal tech-
niques and the more rapid development of harmonic technique as the
prirnary concept of musical texture. Bach and landel were anon: the
great exponents of diatonic hanaony, anj wiicned its scope considerably.

The culmination of this harmonic style ma; oe renresentei by the

l \ach naic ex-

colle tion of 371 choralesh a; onizel by J. S. Qach.
tensive use of chorfis havinn one or more notes foreign to the nrevail~
in? d iatonic key, without losing a sense of the existini tonality.

“any of the chromatic chords which hocane acce tel as ortnolox until

the end of the nineteenth century were usel by Fach both as dure

 

lJohann ebactian 7&0“: 371 Vifirstiuni'e o‘oral"esan'r (Heiozir:
. TY.
Preitkoof % tartel, n.i.)

 

A

u 1 I‘ tfiy ' 1‘ " ¢ 1 7"" V ‘ " ‘ "1'“ J . ; . I I . _‘ a v" ‘. - :
chromatic cnoris and as uoluia or} cnoris. intir Jrlflfl is «sstntia
l‘“ tram»I isactz‘to “nilal t>ol ffilOfllC‘fTFOCF.tlTE EYT1

contrasuntal anl may on i

the notes introflucui by nusica ficta.

 

Honharnonic Bones
The evolution of musical style durin: the eighteenth and nine-
teenth centuries has narallelej and is ilentified with the increasing
use of more and more dissonance. Fhe acceotable balance between lisso—
nance and consonance at any garticular time is relative, and is Jethr—
minei by a constantly chanfinj perception of what constitutes satisfac-
torv sounl eonbinations. This nsrchol "ical conlition exists in the
musical cxneriences of cultur s as well as in those of inlivi.
The tension-creating r latiofishios of tones in Lralitional fa —
monic textures is consiicred the basic characteristic of fosturn nusic

w 7 r1 ', .w l v ,_ .' 7 e +L.
by' x: vcl ,oonxz. '_}u' ex uv.Jsiv7.l,as3nJ Ln one .iisi

-:

nessern Eurooe consists of the i tricate system of tensionel r lesion—
ships between notes which we call the tonal systrm." Che conceit of

tension—relaxation in tonal har,ony grovi es the basis for an exylcwh-

‘

3
*‘

tion of the function of nonharmonic tones as devices which enLance and

enlarge the expressive basis 0; the musical lannuaxe.
fhe orizin of nonharmonic tones, as the origin of chord doifl;
‘tures, may be traced back to uolal polyphonic procedure. Their eri'Ln

1...

.‘ , ' V ',\.~1-»~ . 1- P ”I‘M-11°..‘iv .
in I“ III,"Ar.“JrLJClDU-I‘br LiI‘u (J; 6:“)ij ‘I.L_):‘LJ‘-.’1(‘ d.

’13 essentially contrapuntal.

‘ « ..' ,1‘ 1 ‘ f -. “ , n ' .- \- "1 .t ”as _. ..
‘”1&)lC ruil011xt.iine ii earlfif'vocal_cnil insia~rlentql.rulslc sue; an *qu31"
.0 n " r ‘ (fr -9 .I. 1‘ L ~ Y ‘

bJJDn O; ,as,r1" ieuiods o ls~”-';.L1 . _n the H‘st shls .ralitwon

 

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f\ ‘1? ’ .n “N N “'1 H", -. q x n \ a I : ~n\
,)._ I.» (:1; JO A. , '.-.‘.. 74‘ . .,A. .r‘ 'v-_ . 21-31., (43“..n'1: \'.._.,()I as . f1--!',.~s)vl.b_,
l) .- J ‘ "hw-- ”1"-—_--—.—-
1—“ _ ]4\_r . ~
‘ t‘ f‘fi ‘J‘\‘~)’

w) ‘1le:
not), -/‘,I, :0 c‘x/i

--—.~~. - a “of“; 0A..—

f.f‘

."_ C.

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.

..' -‘, 4-" v~ .—. f‘ ' ,_ .. .‘ ,“ ,‘.,‘,,‘._.‘ ., ‘ "‘ ,..,‘ .4..L.' ;_ ',1: ,4,
‘ it: die uac o- “~‘uiaznfLV ~1‘uhdc t*uoc-c .ui notioiou Jo lib—jdtC

-A -‘L‘./—-

in a r lativclr cract manner th' cow o:“r'n Lntcr‘i'n. “I. 'nnt:

, r- " , ‘1'. _ -A \ -'9 ~ ~, 4- v ‘1‘: pf. ,3 r ." ‘..v .- ‘ ‘,‘ 3 1 -,~
‘fiTIT1t’11 ‘*-flt of th’fi (, 5" ). mt-» { 1U1L CKJVIU‘VlI‘d' {1.0 L,“ '1 ( K \, (A ,A. Lq‘: bL~1LZ 1'21! 4.: JE‘t'j
n .1 ; f f ,.. 7. 1;" D t:- ,I 1).. "‘h5 {v ~,1,‘ , f’ .'%‘”,.. 3.. T ‘r .
\anrlk)_Ln “V18 0 ..c€.L—0\. .— / OI. “(L11 AJn .i . J‘L‘\~ L()A it \)L “(J41.i’~i 101*4 J(‘)_!f -)

with the vertical texture of harmony.

The use of nonharmonic tones in the cithtlmv' th century evolve}
from the reconciliation of two forms of trzxture,foun1 in twelfth-

century nanuacripts anl later perfected by Rash, coabiniq: intuiti :ai
improvisation with musical reasoning. fhecc textures are ucfinci and
illustra tvd concisely by Edmuul Rubbra.

/ ‘ .
011 VII: 11 :1 Knict L(3 :16;

'n ~~~ ~r /~ ‘ 5 ‘ 0‘ .I ' I‘IL
lhtue tJo loxmo are, Tqutqu ,
non-vent in fourths

           

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1".“ DJ- ‘\ , ‘ J .1. \~ T“, a
or i iohs; and conxuc Ha. -.

))(\r ‘t'lr‘ (; O O o ,

‘ ’ D \ - ‘. ~ 4' 1' u .- -'

.e iornnr is a tuiture of a blow-
u -

latter a texture of two or more Warts t t

"ov'n"MJ ‘ art COLwloi 1
hat "Ive no rhvthiic
iufibfiendcnce. “he former 011 icnta-ion lei to 1u~uc an! i

4- ‘ 1 4' ' f1 ' ‘ -, , ~. 4. , Vt 4.x r
u all rnytnnicaily inieuvnivnt melolij te turns , an. cat
1 L - 4" “I ~ ‘ r‘ "I ‘L. v- ," s s , .v-— — V, I ~' ‘ ‘\
iatvvr to tnw 'acY cnorale auu bDC LOJ!F‘ J JI—tunn “here V'e

" fl 0
r o; Jor is Lore s a non—indeuruvwznt rh"t}:113

*' V ‘ .. -. - , , V, ‘ . A, .
cixtcwath- ani seve1teent1~centirg congoocro Huei sotn Offollfi
‘ . ~ ,~ '1 Q-A ~ 0 r3 , "I n .- >. , 7-. ‘0‘: ' . .
anq coniuctuo as altr: nate to: u-e_u, as a icvite ior achitxinz Lfldloh

ani variety. She alteru 9 use of thvot two tvxturva is illustrated in

lweel we '8 mairigal, In Rlack ”ourn 1:2

-.--

 

-——-ac-—..-~—. “

lEdmind Rubbra, Leunterpoiat (Lonion: Tutchinson University
Library, 1960), p. 25.

 

21bii., p. 2:.

rvaw,1a 1
wx'Z—Jl ~_. / 4.0

Conductus lrnnsitfl<n1 WTJarnm:

New w a

-1} -.-. 4‘

 

-u—deh— mg.—

FTT'F‘ ’X'F'F'c‘i'm."
"Hm

- \a

 

 

 

 

 

 

‘l.“

0*.
\L.

<l_i
liijl

 

. . . 1 . . n .

Jonnarncnic tones were derived from the two iunianental ante as
of texture, namely, Haloiic movement and harnonic movcnpnt. 'zlolic
considerations sujgcst one category of nonharmonic tones, such as pass-

1

. ‘ . J... \QT . I Ah r A. . w - c\ Y a. . - A \‘t'. - 1w ' (\
inq tonoo, nni,hooiiny tufluu, an} 530300 toned. Kainonic COHoilclatlono,

the novcmcat of one chord to thc next, sufficst a groom} catoéory, gush
as susocflsions and anticipations. *onharmonic tones, hoin; an into-
grating feature of texture, bcoanc an odscntial part of the harmoniz
otylc of the cinhtcrfitd aol ninctucnth coiturigo.

‘ t ' I~ (“1" 3 cs(‘ r‘ '1 A i’ .l" r f 5"‘11' ‘ .
1onharmoni: tonco, do umoanaan, conotitite a Vital lactoz in

creating a forward Jotion in partflriting, ani contribute to the eatab—

lishment of pulse or rhythm which ingcls forward too zuccncoicn of choris.

'1 ,.: 1;: 11. (‘r“' \ r\ fir‘ ’- r‘ r. -1 ‘o‘rva.. ,. .' ‘ t h JC‘ “"( 0“ ,\..
:18 .'.l... L; LVQLnunLg ‘1- “0.11mi- .‘LUULL out...) L-A gQU‘SsJ a

H

a ”.4? 'l .. n 1
wojcnoiobital nuec

\‘

for its resolution and tends to diupel the teniancy of the human ear to

 

Po

 

1A generic definit on of nonharmonic tones is :iveo on page 10.
urther discussion of the terns nonharmonic anl harmonic will be ional
Ln Chagtcr IKE.

 

 

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Anothmr important innotioh of nonharmonic tones in to“: oi

variation. Variation is an imoortant olvnont of continuity in music.

L.

Xelodic and harmonic variation av ilh the otavnation of movement and

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Sax Sober innts out the importance of rocogniziig EeJicna of
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o- nonharmonic dev cos a

U?

H-

ratioqal tension—relaxatio. patterns hfiLDS

'\
‘1

transform the prooeos f musical firodnction into a calculable grocess

i

using known means and principles as a basis of composition. Jober

L1 1..“ I-V‘..‘- ,w- ‘..‘+ . .4. '
one tangle c RAVI otrnrtourrc..gJ uho PA) o er-

conSiders tonos foreifn to
J. 4. t ' .1 , .' 7'”. H ‘ , 1", 4. i '. .L‘i.‘ J- ,_‘ 7‘ 1‘ ..
oortano, an; in} 01 iniio o oaolw, idcu«r in tiv «y‘aiino o. chord

oroqrposionu, witnout fiiion no

. ‘ ‘ f 4‘ “-"- n“ I 4‘ ‘A' . ‘L »' ‘ f‘ ‘ '“1 5"?
geflfir'b conceit of t”! -dnbuluu of nonwarmonio tonao in tonal n»;:u:J

rat
'.I
V.
(I

”unnarixud concisely in tht introduction of Shh recent traiqlxticn by

.

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1 dA “coir, ih~ Nationai ail “Opldl JOUlJnthflb oi usic. 1

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‘V -: ’~- '>.L .;i 1“ ‘ ~ 13“ 0‘
I.'V1._V"Colby il‘ebf), LitHJ) o

 

’ T" "‘:. '1 A I . 1,~'. ,\:v ‘
Don Haroiilair an. to4a11 o -iaxsl.

Wajvu)nic :fiiurl trxzic . . . is Yrgt OQlP'ILZ.“ LU‘.LFOT
ton relations which arc the rcsalt of urithnctic divisions
manifest in thc orqanizaoion of tho liutcnic snalu, a1?
intcrvals, in triais ani their resocctiv~ Ofilllt”' it is
also influenced hy melodic Joviccs of tone pr'Limity.

arr nic HIKOFI music is no "<r~ ocqucncc of trials, of
harmonic dissona1r305 all their resolutions, but an cxzhanfo
betvccn the latt r anl «clrrds which do not stani for a xgy,
a t naiitr, a fixed lotion within a toial'ty, tones whose
relocic tulction has Leon c-;lainei a: ”gassing, s.n;tainti
anticioatcd tones,”a ani ". 300*"ia+urao‘ or 'Qusuvnaionn.”l

A

o.
1- <
LU‘J

9

L

tone 3) mo:i.ity 91o viirtj a nsflTnl fiescripticn of the

r.
H‘
.-l

H.

s princiol: of

Function of non‘armonic tonro.

(\fi

‘. ' ' ’ . " " ' "‘4 "”r F. ‘3 ‘ r ”I 1 .v: :‘y . ‘ ny. . A~~‘ ' \.
.onharmonic toncs ale CA)1dln0. D} Vol; JLnLUULLh as o is4oo.o

, . .- , n .. a... ' ,, .' ,..J. 4. ,L, :v-‘Iu . .. i -
of chords derive; “rom t c oasic no HLHIC ssrnccur g. 'iucrc arr n51]
.L ,. .1: L ~. 1 r 1. ML: '1' . ~
twist: sorvx. 1:1icii'lo :1ot .,rt)1.CC‘ 1'1.w1w~11ar1, clvorru>, '1 (h’a :vxit.:t‘1x , a-?
.0.“ V L .‘1. J ‘ , , 1W . n" l '
oiisnootb, onc? nigno to caiiuu. olc. tont. viiici c1)rl. Jitaon
,

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'jo;~»C‘1t._cLl-LV = C:."-.1‘1 ”£1.11“ ti”. 3T“.'..

(' V -" “ .r.4o r \ f‘ 24-.“ .\,V 1‘(‘\
Joan L. Junk descriots the dlooOHaWCt o; no 1nr1l1-, tonrs .s

n . —, .. . ~ , ' F.‘ q. n , ._,. f f‘ ,_ .’_ . 1 f; ' <1 , ' «I .0 ‘_ t, ‘1
an lUtflgIJl but croonluig ch.r»ctcliso-c oi tolu-ioj. -otai-sy fi-Jn»
'vv'. . f," ‘ ' a ~q- . ' 'r‘.‘r “ 3- r‘ .- ‘ not: ,o ’V ,7 -1 " .. ..
o- --m1iI3r_u )TEXxilon.‘>L a ic:.riitu‘lLaJ ~H1LL; inr:or>cnn;,in ‘ Lonnv. L.-son
‘ I . , c- .L- Tr“ ‘. _° ‘. ‘ VI. _ V \ ‘_" ~ “ a *- J " -L “ g ‘ I ,-
nance wnlch the ear tends to ignore. Jfllm ;Cintt ons tncs the chiwg-

‘A t i :. -r w .Vo-wA . -' _": .r .‘1 . ‘, '3‘. 1.\r- F-‘ f—y. .~,-
nent of nonnaxuonic tune Jog”; in oraxitionai narmcnj nai oecn a,con,ci—

‘

is; oy ti 18 levelo ment of a 1 le VLr icty of terminology for given

nonharmonic devices. He indicatcs the ncwd for clari;ication of non—

liarioni c tone terninol "v for peiatogical purposes, anl gfrteatb a

 

 

 

 

 

.. .3 ' J. ‘ . .. ' . . 1 .. .‘ “.- f (.7 v. -‘, ' .,.
Clabbiflca tion in two catcgc 'LLo, oaseu ngwn iJfiCLiCR, “clam 93; turns
c ' a _‘ 1 ‘- ' ' _Q “ 1 v j ‘
into; oianos an: rIjiaccncvts.
w
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.A

wti r11 ‘ .fi-.L',—° -'n.'... «r‘ r ., a”; M1

int; d9?) (1‘31; LC C';J.‘)«.-)._l’.b.l{:o UL ‘.".4.uJ.CcA-L 710.122..) duh:
if r. ,‘ . ,.... , ' _;_ - -..i 4.1, 1 ,, ‘_“‘ ”A:
utervalb a;: not ICutrLCUJJ LL ..1: 30—,aiiui 'ci-c1uial
', ..—. .1.“ 1‘1“» 0 L‘_ L ~-~L‘ ,-,'--“ - -lr.
llalmfillltmu' (th1n -'_t.~t i, CJiEP‘ o, ui‘f uBmwfl;UJrJJ) lfllt .flin

)lo ssor forth in What aygcara to bc aflither iimencion than

pitch, in LWO princioal ways c :1rc1c11ra u1‘cr th~ gent

mare of A331.303 or oelf-carrier. .‘Le filat aru Lermod

IUCEAPULA”C;, whgch c'm>risw Pagpififi an} Cha“fififi notzs,

Auxiliary and krace note», .riilu, gHrnL, et;., as Kali ad

the lengthy pcda 1—poinzs,‘which may be citlc" notes, acalc
1

.. .' -. — . .2- ,, . 1 -. , '1 ..— 1 . ’1 .. -v \ ~- -~ I «~\ w
QGCtiOnb, or f-PJ flnlloo o1 _cio.ic ior4-~Lfi ufiQVFaL: diJ"

thi’; Wfiich afific~*s to roYC non~c‘ or~al TQlfiLlCflS with tht

Harmony notes. fuw avcofii are callci RigLAiT77 DJ, in which
a passrcc of two or more notcs roulaccs a siovlc note, *iv n
riot tO'J7at are na cl ~uuficnsi01s ani Anticifations. ?hcse

"‘ V ’ " '. ‘u I O ‘v‘ \ '. (' \ ‘ l «r1 ‘-—-v A ‘~,- - "L 2
occur nnen J Cvrtdlfl Jarmonv 403v lo ”gluc.. u, aWCtnuT woos
-. ‘ - ‘v . v ,. w ' - 4- . 4“ ’. . '. wrr v- '-
”"0.le Hid“), O}. “61 .Vv'r quu ’1'071‘ J») to 4-1 or}. J. o ‘s.’ o 4, “.4: ‘/ OI
. .. ~ “-1-. 1 J.» ‘ '
may not i»oole, tAN rcpicccq note .iving

~ “ o v‘ f.“ 'v ‘. ‘ vr \ ~- 'I r: u.:- mr w- '. r \
flOu, in a 1rr~1v:c. Air 013 K-r03~-dtlu~).

.
'y t v" '11
‘ LLJ

‘3

r‘~r '\ ,L ~-¢- " rv . a. ‘ “ ,s‘ ’— ~.“~r.v. v
These two (lau4i.i,goiono mu, bu cuo Cori ed in 1e101a; au o1cnzggkb;qé
.1 ., ' w .. .1 1 . J.‘ i ,_ “4.: ,.;\
tne haimonic on“ tJH leO%lh luncUionn oi n«

. 'v Vr ->-‘ - ‘ 'V’ ~‘ or;- - - .VI -. I..‘r\" 1 '\ r 3 ‘wfi‘fiF‘H ‘ \
135 examyieo ili1ot1dt€ intui,olanto \-Aui,ie 2‘, awn 4mplxcwncntb

 

Ht -«\
(gxanplc J).

Examgle 2. Example 3.

   

01111111 I Q=IVY.I

6

.P ‘ '~ r ~ I -‘V§~‘* . w -' F‘ f -‘r\ . . . 'w »\ ~ I r- . f‘ “
Duni's nu; cstcl t i.1noio:p ani cldooi.ication arc4 to nivv lounu

I I I
!‘ . w r '- ‘ \u v -‘ ‘Q r v..-
! i,1‘ ‘1 (‘»V.V«k).h- ‘ urx'».L J.’ ft‘y
J

.‘J.J. “‘L .‘ t “H , . . m, .: ,
llublb aCCGJanCb in ixrocqugnt1;v, ii 40 iii} a.

7-

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O; T..‘i 11110301,": an. Liciouii....( tion; ”liq ) ("li'tlf‘y‘lteil if) bll‘._'GC.l’ :1"; L2

p-I

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4
(<

 

1John L. Junk, Jhc Ltructurc of the Cuoical bczle (401103:
John Lane the T“"olllt'gr Wcad, lghO), )p. 155—197.

L ’ ‘ n . ‘3 ‘ W 1 .“,,. -_ V ‘7‘; .V ' '_'J.._.L K L , w. l ' ». 1‘. ‘ [7'1 ,‘ . -‘ v
30053, in t;osg .oc c in x. ,. -nv “Mocha no al L; _= 7 L0 9i F‘ ‘

-‘ . w“ ." f" "' '\ “n- . «V
; r1<3 )1‘<)1,\J_:::1.: c).. i,‘ 1 . L ' .\A].r)

Tarnony vs. Connt9r3CLnt

 

The acadvtic question of whether nonharroqic tones shoull be
treated in primarily a contrapnntai or primarily a harmonic uoflbFFt
sometimes is posei. For purposes of lo;ica1 analysis ani pelagcgica-
expediency, contia)nnta1 princiglcs and harmonic principles have tra—
Jitionally been sLPUuturcfi independentiy according to the historical
geriod being considerefl. Jarious viewpoints suggest the value of con-
binin; the two pedagogical atjroauhes into a gingjo con rjt of textqrr.

Peter Uishart observes that the Jif“fircn3w octwunn harmony ant
countei)oint is var? Eli ht. The intvrjrctation o? nonfiafiwonic tones
is related to harionic struct7"c, as contragznta inflections have kid
a significant part in th. davclonmcnt of chord atrcctarws. ’ictoriéaiiy,
”chords arose from contraqnhtal Jroccdures and not vice-versa. The
fact is that mu 1? can never be just harmonv or just coiwtrr 0 at, or
just melody, or just rhythm, and any attemot to separate all or any of
these thinjs is doomed to failure.’1

A survey of the musical materials used by comgcgare from ra"cv11

to Brahms, by Ivor K yo, contains the Followiig tservation regarding

J-‘ ‘ -. M,” , , , . 4 .‘ q .2 ' t ., .Jr' ' n ,, .L‘h , ,,
use concepts of 4a nun; ani counter,cint in tiaiiticqol mLch LHEQrV

V

.. . ‘,: . ‘fN _‘ ‘ I ~ V .'I v_ f ‘ .‘l‘fl ' /‘I‘\ \ J w ,\_ (A
rol‘AI 1.11:} t..9 {Jt’l 1.0.1 4.. r03. 1 011:). .1. ;~ 1‘ "\J’ .J'S' 4.7432} 0
,- '~-.n., ..-,.‘L ,.,, ,w “mpg...” .. .. 1 ,‘x . a <7,
At iiist albhb 'UaICeil— iatno' 40111 ag/(al Du
-.; x. . q ,. ,- m, 3,1 1 h ' J- "H, , mm - w .- q *
C0115 biu‘ltc c. 3H 3.1.01.1 AH] i—HL 111,1«13'13‘39,whiz: 1., i o L

a vwftfi a‘
h
9

r1},
' «31-»: “=~- ' '2' .. -" t\ ..rt...',..' ‘ -
uLversit*. ;ut in dea-inj altfl tau mac::.aLs c- harmonz ia~

l
. 'I
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:‘ ‘4' - u ,u‘ - 'Yr u- r [w A ‘ 'Y ‘9 " ‘ ' v'-\ f ’ ‘ "
:(Jer Jisnart, Hermon: gaon on: entcninson's 11iv_1t1ty
Y'fiv‘. ’WVJ/\ >>-—"-:'-‘_ {
WE- '.‘(’_‘..‘L.:-"’ l />_ ‘_ ’ 1.). l I o

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COHHtCqulflJ saillv tion ”is L in
111n:;;, J 01"jfi;£11lg , 1h »nn% 1 '3

. ‘ .. 1
dis awrurr on inspection.~

Che concept of cultural

a\”r'a ch to the study of music theory is
Harmonic

the most vital part
as we ha"e ;Fconc ivzre
couple"it so we have become

gra o: zonial scg.1‘01~s.

of a iusician'

as;xrfl‘f

:93:
'V‘ or .
.. 4..

.‘j .'.l

U
- g V
1:; l) l C (i

conditioan

rather than contrauqnfial

‘ A .- .., '1‘ ..P" _

atcwt at uraiin' hizn Vt:
‘ ,

iv \ ‘I‘~ “::\~1~

L/lfla'Q;._ L’ L‘f

Lu?

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‘

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ani 'rouantic' n

.i'ualt in

‘
4 ‘. (\. 7" '
‘-L(~L'...L >A

A u
'n.

connented upon by Ala,
ulgic Wufia.wgs

s has“ r01w

{_l '1

L n

fix:"' , a 2- ,
(agiliiu 'LO tjfljfl; ma

JG.

TAT

arnony

L_.I 16“,

I.

lkcr:

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o
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z in " . . , . e -
_caiiy \-Osuered by music's develOernt in t} s lirecticn
‘ . w a I“ 15/: ’ \f I" 1" . ‘1 ‘, ‘M' - . r‘\-. 1 ‘ v c,- I
the wast three hunure , 3ears) “an siuntel our aLiLiug to
L ' l‘ 0: w.1~1 + v" ‘,~- '— ’- . . ,- ‘\ v -. ~ . w“, . ‘ V‘ ‘1, .,
CCnul u. )llnvul _‘, \a; as .4. J“! t id"; W9 0135 ‘ '9.) 3‘; but! X27" " n‘ '
4 4»4 w h" +1 m~ ;, c n~- ‘.n«= u «fix «'ma \ re ,.“
‘J'u ~ )fin' ) U.) 1‘) 1,; lnA_-‘, 0.4. .11 ( _ C .‘Tu -5.) 5,)(1 [4‘ Li L- t'. .1 1' Q _~ ‘_ 0L];

1 - 4 -~ ‘- : 1— , a ,, .‘ -.- t‘ ~ ~,., ' .. L 1
:arnonic bias inxL._,. our lrdofl or ccunt«l oint 34st ant
, ,, _ , J. ., ' .1 ‘ ,x . ., 7' x ‘., ,- w ‘ f a,
reverse hill trio in at foactacatl clitzcnt ,<nM _es.
‘~1“.?"\',. .‘ ., ., "I, {‘51 ,(. « FWV") 1W 1v»\ 3 ”I“ .A\“'L I): J .— J. W. ‘:
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tee Jlb1iéu J-o IVA t;/Xlsllflrralq

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melodic tones which are iissonant tw the jgwtfiliC t

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a»)wcr d1} Ala; unit; tn€y arr KUHfio dintiwu

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El i‘fI“ :1. L233". 0;. Lu'l".:(‘. i; 31.1.' _.(_ .A c". Li}- L x- ~l.‘;' .0“; . mg -V‘. J, -14“ U “ L A

w

‘ - “until ‘- r..¢',, .. : , ... -.r-- .. 4- '.."" , 3‘ i .~
‘3" :J(:)-'"(I‘ LV'I‘ LIL."4-‘L‘.‘\ giLl ~" .\)1" 4 4.1 Ca u)L,) .: j. i 1 C. x)" :.F? V O {A . ) C -LJ _- ' V .f ’ II.

‘A ,V '~r- 0 V o l ’ _ _: . ~ , _’ _ '\ “' c I ‘ o ‘ '7‘. .
at tie acme time in a gen r-c tense to SlJ 10M.CrmOUIC iCVLLtno -‘Ln

v \-"-1~‘.t‘ ‘. 4 t. «“1‘.‘ r_v'-~\-.Vv:+" (~91? .' "
1(3 .lJ- S .L‘] COW”; JV1(-\,..A ha.“ i «wvd C». x .5'1‘.

,

In a literal acnuw, the tsrm nonharvnn

u o
‘ ‘
J-C ’ J.

 

part of the harmony," is inadequate to describ
under CQfisideration. The process of 3o:;inin"
intervals is the very orivin of choris; all t»
contribute to the total effect of ”harmony.”

q

in music become vstahiinhng through usagr, ani

4- n
‘\ 9AA."

s.”

r. " .

\J(-)A .5.)
y~ ‘;'.. .

L'I.V I.)

'Tiie

vaI“?

:ondotations ti

.1:,. . 5‘, , -.-' c

ii;i\u-nt -CVLCCu

'. c ft, 13": :‘:f (.»‘, . A:
vn(l.l LAL . 'thJkJ~J-1;.1L
«- A 14,4“ &( ”62+L. w

{.211 L.4....Lf) D J') .U..'~.L

a
1

terns

5 have ntaflgn' 3c

\ ~ 7". ‘ ’ r‘ -. n y ,-.« 4.. 5 \~. ,— . \ a . 1F1 9 (,‘.\ ‘\'.- \
lugeffixl. sult.x:l~ ii d.'vF);fod titty u Lu . €YN“ c;.ly d .,c¢,t<nl.

,1, .

1 ' V 1
, - .4 ‘ - ‘ ‘ ‘ ' f‘ 1‘ ‘~ ‘~ , ' . ."
-xe tu.x nwwnnrmonic la Cu bvfl hare u:

 

greater frequenfiy than other tnrn , and bu an:

.0 r r ' n4.‘ {tarn' ,11- iv” ¢2L-
normonic unfilirS' TC‘SyCLii1;Q-_T glam o». r t

 

,
3 .-V
1 'J..'

, \Y“" ,7,
‘ ¢ --A‘

31, is; fnrlfi,‘ ;¢it?1

.Lr . w
,u 3’"? 'JCW“

 

-'. m ', P-- .",
in non tn- linotLQn

and thv relationshifi of thbuc 1«vi3:s to thfi thturé c? the ma ’c.

 

 

5‘ ~ '. ‘i ' V ‘: ‘ ':-‘ J'“.‘ .1 ' V‘I , v. : * ‘Lr‘ ‘, -. a ‘- ~.—~ ‘. ,
QtrQQLUIC in adult it tun iqt'ir 1 tion of ~urtu as deinuv€d uf t¢~

u ‘ _‘ I .1 ‘ I _~

lihb rurd tone '5 umvfl h'“h tL “‘f‘r tfi the “Ichai c\vuh-. “1‘

‘ " I " ' 5 ‘ - . l'.- ~ vr- \ I ' ' '- ‘ ’ V " P ~‘
tae nor} noun tu r(1vr to bLC 5;;hol I-p;'-enti1; t,\ L§.I *utqt an).
. ~’ 4“ I ‘ J’" 114' - . r. ,» . A a - '0 u\ an ,- ‘: c 'J-‘, ~-J- r- ~ 4‘
Lhrce 9J0 virus frequ;1tly art uaei ihtsrchflnncatiy du “in a; 4.”,
_-._-,. 'n». ' .~ "n— r r‘ , A ., . , . .r‘ 4, , .4. ' "-,
,Jnti.ttinn, otéxd_nfl iron my qfiflflfwl uar 0i use .Ori fi<uv in “Uiilofi

and tho Kori taJe (ton) in dtrnan Litwr%twre.

 

12

a

1 i ' ‘- " 1 m. ~ ‘1 . ' . . , . ‘ h
jvneral character CF tn" two r. inc alt} tic couc»nt at 5% 'ui,cs tle
(- I‘ V: ‘ ' ' ‘ r V. 3 ‘ ‘ ' t" ‘ ' ‘ . ' “' o ’7“ ‘ . \ a : v- . ‘,
CC)?‘I;JH;.6?1 i :1 the CI f'dth“ fil‘Cfl Cir-Lu 16x,” : to ‘. T1 (1 tea L- u 1- . L cm. «,1: 9- 1‘; b. .13,
»r\ , \ . ‘J- 1 ‘, - ‘: ,o‘». . 4 ‘.~- ‘ u r‘ ' \ '. ~l . A L ‘r
EcaerCJn .c :.t3'ir7 (If ‘t 76- e .;,rt( (th.. :JT 1 r1 t€1 '1;r ne-n:,n1‘:r-s it: uh}:

‘ 1 - o- c~‘ . \ ~fi . '~v- “ f ‘2 ~J' . ‘ ' ~ "- r z-‘ ‘ ' " 3
structTral quality iesu_ting Fro» tnc artrsnlc Dirnllnj of r~.nw* —n.

- .4

Farmony in partnritififi-

. . ‘ ‘\t "o '. .' . .7:‘ ' u,v<- T. .,. 'V‘ .‘
“y do Mi x;ticn, nvfiualmfniC tonrt are ulsswnw t. 11sson~ an

.J-.

must be defined here in the muuicnl rettcr than the accouctical srnxc

N1 .t .- ‘. ‘r .t . ' ‘ 1‘ . ‘ ’ ,- .~‘-m~\
The terhs conson an: . Thu n._scnance in tuc mutical sense nave no »sco—
—_—a——W —-_- —.—.»

‘ b.-. r y I”. I‘ ‘r: v' 4’ O ‘3’ 't 'n '1‘ 'I ‘\ v {1
lite or 3.1.5.5“1 .n1.o...in;;::, 05-113 a .mt tar o_. I‘f iutivv inch-(e. .-o: Air- c.

of defining nonharmonic tones, the followinq traditio al 71? (av cation

;)s AL+

1

F ~ -' -.,. > r . -. a ‘1 ‘ r 'V r- ‘ 1 ‘ ~ 1 w ~ «. .‘ - ‘-
OC «Ajnscruant cf): {Loo(fihint JJHAaIvalnz, as lhnwz 10-..ILivv tn) the (‘2,ntrtffidz
— -. L ‘ J a \ e~ “‘ ‘V‘ W"? 1 ’\ ‘ I‘ \I“ . :1] t ' I . '“‘v’ " I" I3“ ' 1 t f
811‘}. {1-1.718 lJCE‘nUI.-C€:ht {I Jr 5 ll.) LE‘ , "+4.1. be 1106.1 in fair...» inf/Link}; o L :li u ., -‘AL‘H '"
. . ' 1‘ ~ ' ' t ‘ ' ‘i ‘ i f.‘ ' f ‘ ‘ o" n "' ' 'I Q ‘1
fication or consonances and dissonances has had general accegtcnte :5

musicians since the late fifteenth and early sixteenth centurirs.

one- a) ances Dissonances

 

 

Perfect Unison Llazjor Second
rerfect Fifth .ajor Seventh
’crfcct Octave Linor Second
major Third XLnor Sevwnth .
Tajor Siflth Frrfcct Fourth“
Iinor Th-r1 Km gwer t1 fourth
Tinor Sixt“ fininishnn Fifth

All augmented and Timinfchvi intervals, and enharmonfc equivalcnts of
e: .nt H1 1'" . ' zip/‘1 o 1i; (:17 v' n \
COHVOU inu( rVC ....n , {IT’C‘ 1‘0ng k. .4 a0 a 4.....10tlcirn,(.s o
Dissonance which are dissOT rt conhnnfints of a vertica1 chord

I 1 V ' v
structure \e.g., tne scvcntn of a dominant seventh cnord) are cla

 

Accoustically the perfect fourth is rccoqnized, anfl was rncog—
nized in meiicval theory, as more consonant than the third or ““v In

org ;anum the foulth ‘.;as treated as a consonancc , bu during the harTclic
period it a as been co onsidered as a dissonance, particularly when it
occurs as the lowest interval of a chord.

Roger Sessions classifies the perfect fourth as a conscnance
because of its position in the overtone series (see page 21).

\. L.‘

[p

as rhvthnic dissonance, and inc.n mic such devices as tones ended to a

U

.,
L

regular chord-form sinp_y for the saLe of dissonance, without regard
for matters of approach and resolution. cissonances which are foreign
to the basic harmony and occur as a result of melodic movement (e.g.,
the melodic oassing seventh) are classified as melolic dissonance.
Any dissonance which can be analyzed as a chord tone and contributes to
rhythmic stress may he called a rhythmic dissonanCc; any dissonance which
is not part of a vertical chord structure and contributes to melodic
movement may be ca llcd a melouic dissonance. Rhythmic dissonances rc-
solve in the next chord and not "ithin the same chord. Iniolic disso-
nances resolve either within the sane chord or into the next chord.
Nonharmonic tones were shown (see Chapter II) to be an essen-
tial part of the harmonic texture of eighteenth- and nineteenth—

century music. The term nonharmonic connotes an integral and essential

 

aspect of texture more accurately than do such terms as foreign, acces-

 

sory, unessential, allci, or decorative. Honharmonic tones are not

 

 

tones foreign to harmonic texture, or tones added by the composer to a
basic succession of chords. They are an integral cart of harmonic
texture, conceived in a rational manner through the creative process.
Nonharmonic tones are created in the process of achieving a balanced
relationship between melodic line and vertical, or harmonic structuring
of parts in partwriting. The creative process in the style of the
eighteenth and nineteenth centuries involves -chieving a kind of con-
promise ebetween melody and harmony ”hich reszl ts in a narticular style

of musical to} :ture.

1The terms 'harnonic' and 'nonharmon i3' dissonance are usel
for rhythmic and mclo lie disson nce by Ellis Kohs in Susie Theory
(New York: Oxford Univ«rsity Press, Mel), Vol. I, s. 39.

 

Ju

Honharnor .ic to c:, as dissonanccs, are subjc3t to the tra‘i-
ticnal treatment accorded dissonance si1ce the bcginninc of early
counterpoint. The manner in Which a dissonant tone is a wrenchcd and
left melodically is of primary concern in the contra untal treatment of
melooy. This consideration has led some theorists to affirm that non-
harmonic tones should be considered strictly as crntra3‘nti devices,
with little or no regard for rhythmi consi iera.tions or theb .a arnonic
relations hio of the iissonant tone to basic chord pro3rcssicn. tther
theorists affirm that rhythm 1, or accent, is the primary basis for classi-
fication. Actually, both the melodic and harmonic considerations are
necessary for a com lete and definitive classif ic t ion. These two
considerations have led to two general conreits regar:iing the classi—
fication ani or: anisation of non armonic inviccs for instructional
purposes.

The first basis for classifi. {tion is founi in meloiic consiier-

O

ations. There are only thrre "ays , intervalawisc, in which any tone
can be approached and iesarted from melolically. A tone may be

approached (l) by preparation, that is, from a :Jrece 1i.g common tone,

 

(2) by stepwise movement, an augmentei second or less, and (i) b a
skip, an interval of a third or more. A tone may be departed rczn, in
the case of a dissonant tone, resolved, in any of three ways, (1) by

continuing as a common tone, the same tone angearing as part of the

 

ext chord, (2) by resolving stepwise, up or down a half-step or a
Whole-step, and (3) by'a.§§22, up or down, of a third or larger interval.
The atove possibilities of melodic movement provide a basis
for the classification of nonharmonic tones in terms of the narticular

way these tones are aoproached and dcuartcd from ielolic1llv. The

description of each nonharmonic tone must take into account the
anoreach to and the departure from the dissenant tone for purvoses of
definition and classification. Thus, each definition is concerned

with the melodic behavior of at least three tones. The shoice of
terminology and the definition of each device can be made in functional
terms on this basis.

The second basis for the classification of nonharmonic tones
is found in the rhythmical position of the dissonant tone in the
Ineasure. A dissonant melodic tone occurs either on an accented or on
‘an unaccented beat or fraction of a beat. The rhythmic position of
‘the dissonant tone introduces the vertical, or harmonic aspect of
‘texture as a basis for classification. This basis of classification
<3f the dissonant tone provides only two general divisions o cate—
ggories, accented and unaccented, which factors in themselves do not
‘take into account the melodic considerations that help to distinguish
one device from another. An examule of the limitations of the rhyth-
rnical distinction alone is seen in the fact that some theorists clas-
:3ify one particular device, illustrated in Euannlg h, as an any ggia-
tnira,l and other theorists classify the very same device as an accentei

2 3

d

Loassing tone, or as a neighboring tone.

‘

LWalter Piston states that "appogqiatura' is the proner term for
tJnis device in Harmony (New York: W. W. Horton a Company, lghl), p. 102.

2Allen Mcfiose refers to this device as an accented passing tone
1J3 The Contranuntal harmonic Technique of the lath Century (Yew fork:
Itppdeton—Century—Crofts, 19H73, p. 137.

3Raul Hindemith calls this device a neighboring tone, describ—
ZLng it as a suspension without preparation, in Traditional Tarmony, 2d.
Cri. rev. (New York: Associated music Publishers, Inc., l9hh7, p._HO.

A

 

(1:1: .1! .I
a

This type of confusion results when only one basis 0

t‘
I.

ClaSsl-
fication is used. In the above case, he rhythmic basis is used wish—
out adequate regard also for the nclouic basis of classification and
definition of terms. is harmony and counterpoint are not seoarablc in
eighteenth— and nineteenth—century textures, the classification of

nonharmonic tones should take into account both melodic and rhythmic

considerations. The aoproach-derarture basis of classification lerives
from the contrasuntal treatment of dissonance, while the accented-
unaccented classification derives from the harmonic treatment of
dissonance.

Some textbooks present a general classification of nonharno.ic
tones as diatonic and chromatic. This is a secondary consideration
which does not orovide an aiequate basis for definition. A considerable
number of textbooks make no attempt to classify nonharmonic tones for

l

pedagogical presentation. Frequently the introduction of nonharmonic

tones is casual and even incidental, with no organised manner of

1

presentation apparent. The following exannles of classification illus~
trate some of the more systrmatic attempts to treat nonharmonic tones

in a logical manner.

 

lSee the Select Bibliography in Appendix I.

 

'Illllllll 1| 9
II 2|

" -'- '1 r\"-. ': r~ .
.elodic Slubblf Cation

 

Josenh ”chillinrer uses a ntloiic clas: ificatien, ivscrin
the technique of nonharmonic tones as the flrOC’SS of evolving ler in:
tones for chorial tones in a given harmonic torture. fhese leaiin;

V

tones, moving into C1or3al tones, produce directional units, or

 

elements of motion. ""eloii c figuration can be defined as a process

of transforming neutral units (chorial tones) into iirectior al units."

 

Schillineer classifies four tyces of nonlarmonic tones (meloiic

figuration), the first three types satisfying the above definition of

evolving leading tones, ani the fourth tyne being a converse techniqu .
Type one: suspenied tones (snsnensions), i.e., tones

belonging to the irenri n" chord and hell over; such tones
"11st be move-7‘. -L. nto an atijacent chorrlnl tone.

 

Type tt 0: passi ng tones, i.e., pitch—units insertci
b(t“een t 0 other ti ch—units movinj i.1 secnence and contti-
tutin" cnorrlal tones. inssing tones nay, or nay not, belong
to the same scale as that in which the harn)nic co tinuit my
has been evolved. In the first case, they are diatonic
passing tones; in the second, chromatic wassina tones.

 

 

Tvpe three: au:<iliary tones, i.e., unpreaarc. leading
toness electei with no r ga11 E6”t§:13 nitch scales. They
too, can be either diatonic (in ahich case they have an
"ecclesiastic" flavor} or chromatic (in This ll case the; all
an extrnn.e lyrical expressiveness, due to sudden inten ' ili«
cations, to the music).

Type four: meloiic figuration basei on a technique
different from the evolution of leading tones; it introduces
certain chordal tones (one or more) of the following chord
into the preceding chord. Tiis ievice is knEEE-EE_—
anticipatei tones or anticipations.2

 

 

lJosenh Lehillinscr, The ”chillin"er Jyst n of iusfcal
« .' ' ’7' ..' .1, .. * ‘\- ' -' 7’;
uomnosition k10u Eels: C.arl _. icsctcr, lne., lvhl), fol. -, n. :‘?.

 

 

2:}: if} .

 

r" C',

Wu
~ - :c . ‘n 1 fifi . r _' . ,‘V. ‘5 ‘ V, . '- ’
Allen No.0ae state., ”..n m nnrr in nh>1n tne nun-hirnunoc
7., ‘ - n . ‘ ‘1 ‘ - 1 r.‘ ‘-:1 .‘I’X’~ ~‘f’3‘ "- ‘— 7‘ r . ‘ r‘ "“ . ' .l V ‘
tone is l“TlVCJ ani resolval ”ill ciasei u it. «cans? oi tHls, it is

1

necessary to cmflhnsizn tno importance of the classif‘nation of non~
harmonic tones; for this is the basis of the COHCO t of grcoiration iii
resolution of cissonince."l Velcro classifies eiglt catreories of non—
harmonic tones: (l) Bassine Tone, (2} Suspension, {3) Thirhborinc Bone,
(h) Anticipation, (5) Escape Tone, (6} Apnoggiatura, (7) Peial Roint,
:3) Changing Tones. In iescrihing the iniividual erizes, he naPes a
secondary classification of passing tones as unaccentcd anl accentei,
and further describes them as single, double, triple, ani qxalriple.
H. Owen Reed gives a melodic classification of nonharmonic

tones primary consideration, "according to (l) the anproach to the

nonharmonic tone, (2) the ieparture from the nonharnonic tone, and

 

(3) the direction of movenant. 7t is only nossihle to anproach a

—— *“CO

 

1 ' ~ ' . fi‘.“ r . v, ' I‘ f \
nonnarnonic tone (a) scalenise, (b) by granulation \fron tne sane tann,,

I

‘ 1
or to; by 1039. The unperturo fron the tone nay be male h; the “W

qykl x,
"2 'Y

methods.‘ no classifies and defines Cijht basic nonha nwnic devices

-_ ‘1‘; w‘ I‘ x‘ . _‘ a.
l) Bassinq lone, (2) susge.sion.

f“\

in terms of the above criteria;

‘ ‘ A‘ A . I \ ' ~ ‘ —: n . -'V‘r-r‘n~ ’ - \\ v .
{3) Jciqkboring Tone, ah; Anticination, (g) nssaqc Tone, {3' nova:-

tura, (7) Pedal Point, anl :8) Tree Tone.
Robert Ottman also defines and classifirs nonharmonic tonne
primarily as iissonant melodic tones. ”Ion~hargonflg bonus may lo

iicntifici ani classifici by the relationship of the dissonance (tne

. \ . . . a .
non—harmonic tone) to the harmonic tones whicn orecele and iollow it.

1 " ' ~v - n 7? 0 r 1 0
Allen erLne Aciose, The contraountal narnonic fecnntque of

the 18th Century (Hem York: Angleton—Century-jrofts, Inc., 19)?), g. 99.

 

 

2H. Owen Heed, Fasic Husic (Ken York: Wills Insiz, Inc.,
195h). p- 55.

:0 Harmonic tone prvocdinfi thr dissonancv
(willxwl tflic nous of anfrorcn b\ tho 1Lss‘ onincp itsclf an‘ o) the
liarrnonixz tone followinq tho nissont co, called ttc note of rcsolution.” '1
Otdxnarxlolnssifics ei~H‘ types of nonnirnonic tone ’13

A. r' r‘ -" ‘. :v n . I :1“
.;1L;.)3 :n;)i()n, \z;) quiJLC311X1t‘ 0T1, §,,!

turvi, (6) Escagcd tone, (7) Changing tone, and (3)
ilocs ggive recogn; tion to the fact that nonharmonic

4. mp .~(-..-L1'_‘..\\ ,1“
Von.—-“) D ~)15¢C U-A-16’~>\I .

Clas :‘ified acco riing to rhythmic

placcncnt.

Examples of Rhythnic la1s1f1c ation

Roger Sessions refers to nonharmonic tones as

<iescribing then as "toncs which do not belong to the chorls us

are introduced for tlc our oose of 'sini ng a nore flo.i ;, more ornate,
or :nore cXprc “ss3ve melodic line or texture, or of supplvin; novw~rnt
at points where it i“

1.: TOWN ‘ “F“

,LLLi, but not furnishei by tho chords tncn

sclves."2 Sessions class L'fic s b”'

ssic types of nonharmonic toncs in two

gcncral groups, the unacccntcd

 

and the accontcd. NJ

 

 

to the mcloiic importance of nonha monic tones by statinfi, ”It shouli
be clezuly unlcrstool that the terms 'unac ccntcd' and 'acccntcd' rcfur
heresflmply to tho position of the accessory tone with relétion to the
tonesxfinch immed'ately precede and follow it.”3 His classification is
as follows:

 

H

 

 

Robert N. Cttman, Elementary larmony (Lnglewood Cliffs, *. J.:
Prmflflce-Nall, Inc., 1901), p. 127.

2- . , . . .

ROger 36351ons , farmonic Practice (No! York: Harcourt, Prace
andc many, 19:1) p. 1223.

3Ebid., pp. 128-129.

 

 

Unaccented Accessory Tones ccented Accessory Tones
Passing Tone suspension
,- . . 3- . \ .
:eichbcring Tone (Auriliary) Aoeog:iatura
Anticipation Pedal Point

Adiitional nonharmonic devices, including "the ornamental formula

W ., L .
known as the Beta Camhiata,"‘ are descrioed by sessions as extended

 

and freer use of the basi accessory tones classified above.
Ellis Kohs gives an articulate presentation of nonharmonic

tones, and considers rhythm and accent the most imoortant clenents in
o 0f!- 0 y 0 2 'Y o o y .
tne classiiication of nonnarnonic tones. no classifies nonharmonic
dissonance as either accented or unaccentci dissonincc, even though

he recognizes accent as not an absolute but a relative matter, varying
in degree. His classification ani

trruinology are as Tellers:

T -'. i f". .,..-. A ..
dnacccnooi JlDoUHuHCQ

 

Passing Tone

Neighboring Tone (Auxiliary)

Echaopée (Escaped Tone)

Changing Note Group (Chanting Tote; iota Cashiata)
Double Neighboring Tone (Double Auxiliary)
Anticipation

Unpreoared Neighborinj Tsne

'4.

ACCPfltfid Dissonance

m

 

Suspension

Aopogqiatura

Accented Passing Tone

Accented Neirhboring Tone
Uecoratei Insolntion of Suspension
Pedal Toint (Crgan Point)
Retardation

L

Leonard Eatner refers to nonharmonic icvices as meloi'c figira—

 

pg
(D
t 1
O
W
V
C
L

. ' r ,-- - W . r 1-: r I; w ‘. , 'fi 5.. o:- "1 .(‘-_L . .'
tion, and uses the unaccentsi—iscentel eiassiiicauion. in
g

 

‘--. _--

 

. o I
11011., p. 189.

n
5.3—. .‘ ‘ -. . - . a, /-T _ ._ A -.
Lilia E. ths, insic lb”0ry (new fork: silo
. , /_-1\ .‘7‘ - _ ' "\A W. fir v",'/‘. \/ a r'
:)l~€.()é) ’ 1:)k/‘j ’ ‘J {)1 0 3L, ‘2) o ‘/ “J“, ’ (,Jg-k ].{\JL."’.L1/‘o

/ ltV J

‘

“1 Jniv"rsity

\
A.

 

the unaccent e3 type as trnt which does not distnrb the unforlyinr

 

 

. .. ..~..' . . . r ‘ .- .- -. L3 ,4 , -, :» - up,
Ci tones LlLCh ale hearo after one Viorl is ctra,i,

l a

‘ .v“: . r-r ~. \ ' ." "‘\ ‘1‘. , n- A‘ . . 'h
ant build it sounls. 'he ace centei tyne lo avociloei -o meloilt

fijnra tion heard at t‘. e noint of chor i change or at a rdythmic point

WHlCh is stronger than that 03‘ the following note n.' xatner oov_oue13

ixtends to show a clear distinction between accented anc u.accented
dissonance, althoujh his lefinition of the point at whi h filssonance

begins to "fiisturb the underlying harmony“ wonli seen to involve a

~<:~m *1 19 . .. p9 ~‘r'..tfv- , ”n*“'t "n:..w1 .1 -w:
can.) ('.L‘ D C \ (' JI‘LL' u)- x.) ',1x.'J',. 5, VJ. 71.. J11 ”2‘11”“1 o ‘u,. J ‘1‘..- f, _auu_,

.g.‘_t

\

of melofic Pl?d“"tlofl (nonn.rnonic tones, is as follows:

7? 1 “"3 , 3. ‘ . r‘. 7-. run V I, . A
snaccentco iigpratlon Accentza ilahfothn

 

 

La;

I firtbor i an" Accentrv: Passing Tone
Passing Tone Ace ente- I'eirhbor Tone
[altic i; -ation Appoggiatnra
Shanjin: Tone

Escape Tone

CL

‘

Ratner does give detaiie d consideration to the manner of 3))ruach to

and de iartnre from each -onnainonLc t(1e is an essential factor ii the

de °finition ofe ach nonnar rmonic device.

Two Classification Hroposals

 

The many different wavs of Clo ssifyinx, eXplaining, and

La;

nonharmonic tones has prompted the sublication of two per tinrno

articles in recent nerio L'crl lite ntnre which proaose solution: to
the problfim of icvisinz a: incl IdiVO on] sysLOMWJLc nresvntwtion of
nonharmonic tones. It is interesting to note that one article proposes

L“.

a melodic baSis of classification as nri nar3, and tie otner artic

_ - -— m“...—

 

1Leonard G. he nor, Tarnony (Tow York: Kcfiraw-Will Company,

Inc., 1962), p. 66.

2:bid., 9. 157

proposes a rhythmic basis of classification as primary.

fl" - fl \ v. ' y '.‘ -\\ l‘ ‘." ‘.n \f‘r“‘t"‘ " ,' L... ,‘. ',A. .- v‘":
i. 0:.) ill-fr!“ F 91‘ L)l)0 .“..S) '1 S‘:’~3 Elli... L"_LQ‘,.\ J. )1)C11 U‘ll.‘ lAan-l..- 4.?1 “'11,.-(311 a

.J

M- .. a. ‘, L \ ‘ ,1 m —- '1 .. . a A, . .
nonnaim»ntc tone iv ontvrvi an» le-o. We Six (Sta tnat the accent

or rhythmic basis of classification is too r‘ortv‘ulr-x and variable to

4, ’~ , ‘rufl. .hr"'. I ‘ 7‘. "P n', "' - c . ' ~ '( ~ ‘ ‘r l' ' "'N D‘
provilo a dw/enu<blo basis £01 11;,oztntiation. Tr reabmno tJdt Lubre

may be some argument about a tone's accent or lack of it, but tfiat, on

q

the other hand, there can '0 no disagreement over whether a tone f5

ra

entered or left by step or skin. iinco there are only three ways to

A

‘ ‘ I p O ' I ,
abiiiottior

n»

leave a nonharmonic tone, he suggests the following basic cl

and terminology.
1. [LB L: 3
A EEBUDZS CLASSIFICATILH U? Hoffinkhthlc rows;

 

Mode of Entrance Name Xode of Quitting

 

Step Passing Tone
Returning Tone

Leap Appoifliatnra

Prolongation SuSpension (prolonged Step
chord tone}

Prolonqtd Passing Tone.
Returning Tone,
AppOfigiatura

 

Prolongation Brolongcd Zucanod Tone Heap
or Free Tone

Prepartd Qusponsion left
by a leap (un-named)

l-_..-..____—-——...

 

Step or Leap Anticipation Prolongation

 

 

 

1: H1 I" ' ‘ \ ‘ ‘

Bum Lurner, ”A Prooosal for a btabilized flonohora Tone
Nomenclature,” American Kuaie Teacher, Vol. III, V0. u (Larch—
April, l9Sh), p. ‘ff.

 

Turner comments upon the iraiequac” of some of the t rminology

' . (— ,..‘ \‘ ‘ ... (x , ,, .).. ,,. 4 ,n ‘ -. v 1 1 ‘ / -\v-.~ r, -: ,, ' a I .

in gentral use, but JOQQ not su: Cot 101C suitable t‘lmu, lcaJinJ this

task to his readers. His objection to accent as a Urinary basis of
.. '\ ‘

Classification, which he considers too indefinlt , may etc; iron 31s

0 .
.l ‘1

failure to define accent in relation to harmonic structure. The
apparent simplicity of a system of classification based uncn the three
possible ways of leaving a nonharmonic tone becomes more complex when
all the factors necessary for definition of the terms are considerei.
The above classification is basically aiequate, but it requires further
factors of differentiation to distinruish and to define precisely the
various devices listed.

Hans Tischlcr proposes a rhythmic classification in two livi-

'1.
sions, stressed non—chord tones and unstressed non-chord tones.‘

 

Tischler bases his classification upon the observation that ”Historically
and musically stress is the primary element of differentiation among
non—harmonic tones.”2 He notes that stress is a complex concept, there
being many means of creating stress in music, but that thr application
of this concept in respect to nonharmonic tones is rclutivcly sigwic.
’fhe essential distinction to be made is whether the nonharmonic tone
is entered simultaneously with the new chord, on a harmonic accent, or
whether it occurs on an unacoented beat or fraction of a beat, and is
related to a chord qreviously or subsequently heard. A strong rhythmic

accent may give stress to a nonharmonic tone without a change of harueny.

The other possible types of accent are unimportant in this context.

 

inns Tisohler, ”A systematic Presentation of "on—Harmonic
1 ‘V r‘

*7 i. l 1' n 4 Ti 4 . . urn 'r',r--~-r~ .r’F: , ‘v ..
notes,' .UulC ana ,a oars, .J_. huflflll, 172:, DJ. wfl-hUO

 

w o ‘ /
Ziblrlo , L). .U.,‘

Tischlcr actually combinrs the
. , ' Pr. --
melodic iuCtOT (as

.‘ v". ‘ -‘ ‘ 7 r~ ‘ “
aeyiccs eninerateu

cosal lies

in his

in the use of both

prOposed claSsification is as

w v iqr‘v'l '-,‘ II‘ A \‘c ’. '\ " “"/ " '\‘ \ ‘ H'”! ‘V.‘!""Y' q
A fijlilltaic, .VT 0le thil‘c'il er‘ Abmlx’tzasuiio -

”in, .-,.‘ . l. 91,-
‘)('C(v‘.L'»J(1—1J J to '.;'\J.-.;.‘.‘.

'n "3 0

‘SC 1157

in" ~
.. .AC‘

follows:

TABLE h

‘ w- ‘.,
,y] -_ 7‘

I" i
J (.LLJ i C

I. Stressed Non—Chord Totes

 

m-+' . . ' "
pafch1181 merit or s

"1 r3 0
‘ "U\)

factors for definitive purposes.

“1-1.9

 

 

Name & Symbol

Reached by

Left by

Other

n 853' C:

 

l. pedal point
(P)

2. suspension
(8)

3. appOQfiiatura
(A) -

 

prolongation

prolongation

 

prolongation

step down

step up

step (down or up)

 

lying voice

retardation

unpre par c d

s uspens l on

 

II. Unstressec

Ifon-Ghord

v

lotes

 

 

A.

Name & Symbol

Reached by

Left by

Ut he r

name

 

L. anticipation
(a)

S. passing note
(p)

6. turning note

(t)

 

skip or step

step
skip
step

step
skip
step

 

prolongation

in same
insmw
in san

step
step
skip

step
step
skip in

direction
direction
direction

other
other
other

direction
direction
direction

 

strict

fre
fre

C
C

p
f)

strict t
free t
free t

scape

ech

ry<r

CilJ

L"

note

)€€'

 

The above classification system takes into account the three
J

essential aspec

+ \
oi)

of nonharmonic toncs

articulate definition, namely, the rhythnic posi ion of the

‘ U . 1V4 . . ‘ .(‘ > y H \ ._, , v. ' . ' 4 \
tQF'lflfif in thch the dissonance is apwroaehci, anl the may it is

f}

Jhich must be conciicrefi

«"(

.
4.5.»);

i
.LUA.

3onancc,

WLpft o

g1

‘ ‘ y l
r A. V‘y- ‘ 741 . ‘ '- V ~
‘ C '.'.“I 11.0

-. tbl" ,4 c:,.-:.:--',\,. " (Hun. .— ,
‘7 ..f_ whlldlulqu‘ O; sin-on .luii L<rl:,.-11-..

Fm*mflawcical purposes,

u-"l’o' , )art LOLI—

mmtdeuheate all three factors to show clear listinctiu

lmiybemwen devices which are similar in some respects. Jhen one or
:mmeoftmese factors is disrefarded in iefining terminology, the defi—

nifionfhils to Show adequate distinctions and breaks down, resulting

innmchctfuscation.

The apparent simplicity of Tischler's classification is actirve‘
‘K basic terms for nonharmonic devices, an‘ by defin-

by his using; only sis
hr;som:of the terms more broadly than is desirable for a comnlnpo an}

_ ' .L. i‘ ’3 J, ‘ 1' U '_ (". r‘ ' ("4' ‘C' _'V k‘ f"(‘ " ,‘\'._f'_'
[mfinrnvc nomenclatulc. Ty imposing a abrebcfil‘unntrwonel class;ix-

catu31over an ainroach-d parture classification, certain complications

arise in'which a given mrlodic novice is designated by'two Jiffcrcnt

m ‘ ° n ~~ «5 ' ' ., -. . - 4. A; H ,- r 3,3 ,
names, depenning uoon .hcthcr it is accented 01 anaconntvq. unwrr tiis
v “ ‘ ' v‘ v‘ 1 ‘r‘. -r-_. I“ ‘ 3 v~r~ ‘ ’ 3 ». - ,A :x : , - ‘I 'r“ ‘ 'I‘y‘ -. .‘ . x,' ‘\t n " ’ ‘1
system, fOI CJ{LU.LLJi.Q ’ tL.F_) "i'- OXILL Ha.) {.1 #3:“ Lunf: A‘f‘.’ L30 n i ,,l-‘,. '3 L.) d 2,.)1"(_..d-.u-i_.
is calicl a >~asin“

and departed from stepwise in the same Jirection

tone when unaccented, and an appoggiatura ween accented.

regarded as the primary differentiation between ievices, this system
is entirely'logical, but confusion does arise when the same melodic

cievice><zonsequently is known by two different names.

‘The factors of stress, approach, icparture, and direction of

rwnsolnrticni all provinc points of differentiation that help determine

true cilasnsification anfi definition of nonharmonic devices. The manner
(x? etfifiufoerzh and of departure, however, are he only factors that con-
:sijsteyntilgr d scribe, and therefore define, all nonharmonic devices. The

otflqeq? czccrfiitioning factors are not clearly anwlicable to all nonharmonic

‘tcniess, C(Jnsidercd as melodic devices, and thcrrfore should not be the

gxrjnneur3r tnasis of a system of clas“ification and nomenclature. ._e

the manner of aPZV‘I‘oach and o... -_3e.>::r‘xnu'e arr:- incloziic
ahttothc definition of all nonharmonic divic s, chest factors shrnl
:ktnnhw the primary classification. The other coniltionin; fajtors,
where they apply, should determine the srconaiary claisgsification an‘:
gmofijegwints of differentiation where such iistinctions are rgquired
ibra.hfiinitive nomenclature.
Examples of variants in terminology, definitions, and classi—

Iicatum will be discussed under the respective devices which are con—
stkreiin Chapter IV. The factors that determine the classification

anidefhntion of nonharmonic Jevices will be consiiered in the

folhrdi: order of importance:

3‘

manner of approach and Jenarture used.

1. T

V

I
\

fl ”-1 ~/. .r ‘ r‘u'v" ~ - fl, n J“. ”x I . . L ,
2. ihe direction oi qOfidrtlIO from the lissonanc ttne.

r71 \ ‘ .0 ‘ “u_‘_c r‘ -1“ > ,:.'V'\ r 4. J.
3. 'he rnftnnic DOoLoi n Oi tar licaonunt tone.

'\
v

rm, “H ,,. ”1“: i .L - ,WH h ,V;,.°.r~: ' - v ,,-,~:
lJLUC factors will be uovd as tnc basis ior ClJuoLuiCdtLOq an» i -ini—

tion of the terminology selected as most aggro riate 10? each non-

h . _-ht ”evice “he order in which the various'nonharnonic devices

I I

0.)
"S
:J
3
LI
, J

are ynvxsented in Chapter TV is based upon the manner of aggroach an}

—.

, 0
~ I > V ‘
s

(fiepaiflnire, beginning wi h a common tone, then a step, and then a tgi,.

rexit on of departure from the dissonant tone ani the rhythhic

*1
(D

(L
F.
H.

Dcnsitxiori of the dissonant tone in the measure will serve as iuali—

1‘7iru: fznctors for a definitive nomenclature.

harmonic

I ‘ f:)'l‘t;"7)
CLIJLA 1;.1‘.

NONHARKUHIC TUNES:

TEREIWOLOiY VARIAHTS

A classification of nonharnowic tones accorliae to the canoe?

r1

LI H

T“.

r. Prolongation
2. Prolongation

3. Prolongation

'Tkua manner of apjroacl ani departur~

.‘ ‘ I I O ‘.‘ (‘ “ 7‘ L
(X? (zlassification secause, firstly,

\‘T \ | "-W A u? ,‘y
:Uls>L‘J Ii) Milt}, ‘. .

:0. Tanner of Approach

rfi«rmrmmh and fieparture proviflcs the mathematical yossibility of nine

waicrumharmanic devices, as shocn in Table V.

JLVIUUS

D

Kanner oi Jeoarture

Prolongation

Prolongatian
Liter)

r ‘,.I '
.z'lsJ—‘j

is used as tne primary

weiharmani: tones are re-

eas :nelodic ievizes, and soconllr, becaise all the possih e won—

rievices can be classified on this basis.

Pfiirther refinements in iefinition ani terminolavv are oossible

I III .III 1111 I ll 1 1" .I1

1"}

bymsdmtdistinctions accoriing to (l) the iirectio on of r»s)-xti>n
ofhm fissonant tone in re ation to the lirection of its approach

'sneor0350site), (2) the feneral direction of u.lo.i,
orimm)and (3) the rhythmic JOSltl on of the dissonant tone in the
rm:anwe(s tre e,d or uns mssed). 'Phe iirection of resolution nay he
.acmuimoninq factor in those n>n.arqonii tones which resolve by step
ortw sap. There are six basic nonharnonic icvices which resolve by
sthoriw'skio. Each of these six devices may resolve in the sane
jirandon as the aporoach, or may resolve in a direction opoosit to
t.he ixect ion of a;oroach, giving the oossibility of twelve iifferent

melodic patter.s.
The iirection of melodic movement in eicnt OL the basic lovicos
may be up or down, giving sixtec. elements of differentiation in melo—
dic pattern. The firs device uses prolongation for both *oroach and

“D
H.
.4)
H4

departure, involvi no no meloW cmovcncnt, and thus cannot be classi.

accoriing to jirection of movement.
possibility that the dissonant tone in each

The theoretical
G or

ba31x'<ievi“e may occur as stressei or unstressed proVLie° eight

adiiixbonal factors of differentiation for purposes of description ani
tjeffisiitixM1. The first basic device occurs both on stressed and un—

istai nei tone. fhe other eijht

stressed beats of the measure, being a s

Iéasxic Iiorfliarmonic devices mav occur on either a strassei or an un—

stressed beat or fraction of a beat.
TWiese mathematical pos sibiiities of variation, totalling forty—

nua3r l>e used as :list inquishinc factors in the ,es wlint on, the
the ascribinq of terminoloTv to all possible nonharnonij

Shes e elements of vari. fit on, u:se‘ to Win-c la 33ify the n: ne

if?
L I

‘ r

J.

basic nonharmonic patterns, are regaried as svcondnry ascents of classi-
ion because they do not aqply with equal usefulness to icfinitivc
distinctions.

The forty—six possible distinguishing factors in nonharmonic
tone patterns may be charted on the basis of the above criteria (see
Table VI). Not all of the theoretically possible devices are founi in
the music of the eighteenth and nineteenth centuries, however. some of
then lack tonal or stylistic relevance, and others represent unnecessary
distinctions for definitive purposes. Twenty-four of the possible
variants of single—tone nonharnonic devices are found in the music of
the eighteenth and nineteenth centuries (see Table VI).

Some of the twenty-four variants are disregarled in both termi-
nology and definition by theorists, while other of the variants are
universally accented as important distinctions for hurooses of definition.
A considerable number of the variants are controversial, much disagree-
ment existing regarding their classification and terminology. Lone of
this controversy results from the lack of a systematic basis for classi—
fication, and particularly from the arbitrary definition of terms.

Much pedaqogical confusion is found in the lack of clear and srecise
definition of nonharmonic tone terminology.

Examples 5, 6, and 7 illustrate a few of the more obvious
variations in the relative importance of melodic characteristics used
for the classification and definition of nonharmonic tones. The device
in which the dissonant tone is approached and -eft stepwise in the same
direction, generally known as a passing tone, may have an upwari or a
downward melodic direction. Ho theorist apparently considers it impor-

tant to distinguish between an upward and a downward melodic direction

.mhsooo qoa>ow mafia mo apom @co mace mvcmn
.aLSerE 0:» mo mpwon «wanwppnrs Chm dunnmppn npon so MCflpprooo .cnop dccwapQSm a mfi cofl>cw OHmmp pagan mzp

cowpmncoaouc 09 ohm «ohdphwacw esp Cd ho zcwopmmm on» CH nhdooo prescbce cwroamfi or III

mmHMSpcmo gprcupccac 6cm npcompSVflw on» mo moca>mv owroshdssoc CH Ummd mucnwpwb

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

canflmwoa hHHmOflpohomsP mncmapmw x
"manor
0 xLI N x x x I x LII! Eva 3.va a
9 GD GU OW. rw 0U x $3 Eva w
m AMWV x AHV Aflv III HHI cowpwmrQHOMQ mflxm w
.m ® x @ Q3 OW x 065 33,. m
I, III! - m 00 DO 00 ® ® ® 3% aogm m
m AHHV x AHV AHHV III III :0flpm5:0H0hm aopm a
o x x x x III III anm cowpmeOHOhm m
m x ® ® ® III III Q30 cowpmmcoaogm N
*H flmv mflv III III III III cowpwmcoaohm cowuamcoaonm H
vomWWMpm vmmmohpm Upmgczoc sumac: opnwmmmmmmo nmwommmm whduhwawm flowchacd .02
and CH upcw mace pcm:09mflh Mo ptmfio>or ofltoaox nonopmmm.op wasppwqoo uo
Iflumb mo .02 cowpflmom oafinphcz mo :owpomnfia magncoMuwHez Hacowpompflm mvofl>om ofimwm
nmoH>V¢ mHngnwdrrcw uwann be mnr<wm<>

H> zar<h

in this device.

Example 5.

(a) (b)

 

ET. I I I

The nonharmonic tone anproachei by prolongation and left by
step, generally known as a suspension, may resolve upward or downward.
Some theorists make no distinction in regard to the direction of reso—
lution. Other theorists consider this distinction imoortant, even to
the extent of using two different terms for this device, identifying

the downward resolution as a suspension and the upward resolution as a

 

retardation.

 

Example 6.

(a) (b)

 

The nonharmonic tone which is approached stepwise anl left
stepwise may resolve in the same direction as that of th. aoeroach, or
resolve in the opoosite direction to that of the aperoach. All theorists

consider the direction of resolution an important classifying factor in

this case. 'he device using the same direction for the apiroach and

the departure is frequently given the name of passing tone. Jhcn the

 

direction of resolution is opiosite to that of the apqroach, a differ—

 

ent name is given to the device, as neighboring tone or auxiliary.

Example 7.

(a)

/"\
0“
\._ ,‘

 

Czl'. I I II.
&
Each single nonharmonic device with its variants which are

found in the music of the eighteenth and nineteenth centuries will now
be considered in the order in which they appear in Table V. Certain
nonharmonic devices make use of more than one dissonant tone, or combine
two or more of the single devices classified above. These devices will
be referred to as combined devices and will be examined in reference to

the same criteria for terminology and definition apolied to the single

nonharmonic devices.

\n
w

Single Honharmonic Devices

 

l. Apnroached by Prolongation and Left by hrolongation.

 

 

Mmfled

 

CzllZIIY I

This device is generally known as a pedal point. Other terms

 

applied to this device are organ point, pedal, pedal tone, sustaining

 

tone, holding note, and lying voice. The term pedal tone is used to

 

 

 

refer to the lowest tone produced on wind instruments, bein? the pitch
produced by the entire length of the pipe. Therefore, the use of this
term in connection with this nonharmonic device is not a satisfactory
choice. Host of the terms used are descrintively appropriate. The
term pedal derives from its use on the organ pedal, which provides
convenient means of sustaining a tone in the bass voice as long as
might be required. The sustaining pedal on the modern grand piano
also can serve the same function within the limitations of the piano

to sustain tones. The term pedal point is the term most frequently

 

used, and historically is the most appropriate choice as a functional
term for this device.

The definition of pedal point is more generally agreed upon

 

than the definition of any other nonharmonic term. A pedal point

generally is defined as a tone sustained, usually in the bass, while

5b
the other voices move throujh a succession of chords which create a
dissonant relationship with the sustained tone. The first and last of
the succession of chords are harmonies to which the ncdal noint is con-
sonant. Some of the interveninj chords, at least, are harmonics to
which the pedal point is dissonant. The pedal noint functions as an
axis around which chord orogressions are formed by the melodic movement
of the other voices, and at the same time introiiccs the element of
dissonance into the texture of the music. She ceial point may auntir
in one of the voices other than the bass, in which case it sometimes is
called an inverted pedal point.
An example of semantic discrepancy is found in the harmony
l , . . . .
textbook by Donald Tweedy (31). He states explic1ty, "Innarmcnic
or unessential tones are alsay dissonant, and are introduced either
deliberately because they are dissonant, in which case they are apt to
be rhythmically accented, or as mel die ornament, in which case they
are regarded as a means of varying the melodic line, and nay be either
accented or unaccented."2 Subsequently, in classifyin: the pedal soint
as a nonharmonic tone, described as alwcys dissonant by his own defi-

nition, he states a pedal point occurs "when a series of chords pivots

.3

ce. He then presents the

i

about a civcn tone which remains in one v0‘
following musical example, in which the nodal point is not dissonant at

any time, with the execution of its annearance as a chord seventh in

 

1Numbers in parentheses following the names of textbook authors
mentioned in Chapter IV refer the reader to the corresponding entry in

7-

the select bibliography, found in Appendix i.

2Donald Tweedy, hanual of Harmonic Technique (Boston: Oliver
Ditson 00., 1928), p. 26.

 

31bid., p. 212.

’r"

39
the submediant chord just preceding the cadence. The tone illustrated
as a pedal point is simply a common chord-tone continuing in the same
voice.

Example 9.

ii 11.1 1.1.1.1

 

CIIVIlTL I1? IYIYEGI “I
(94. 6 66256
. 4
The example is in agreement with the definition he gives of a
pedal point, but both appear to be at variance with his definition of
nonharmonic tones. subsequent to this example, Pweedy reiterates his

original definition of nonharmonic tones, stating, ”Fhe inharmonic

tone, being always dissonant, is a means of expression for intense

I

 

emotion or for securing amphasis." (Italics by the author).
Carolyn Alchin (1) gives an exclusively nonharmonic function

to the pedal point. ”B.e pedal point is a tone sustained by one oart

 

. . . . 2 .
through a succeSSion of harmonics of which it forms no part." This
definition is conditioned only by the requirement that the pedal noint
enter and close as a harmony note, and that it should be entered on

the accent at the beginning of a phrase. Although the same term may

 

llbid., p. 212.

2Carolyn A. Alchin, Applied Harmony (2d ed. rev.,; Los Anneles:
L. R. Jones, 1935), p. Bl.

 

6

\..'1

be used by many theorists, differences in the intergretation of the
device may be seen to give different meanings and connotations to the
term. Alchin states that when the pedal point in the bass forms no
part of the chord above it, the next tone above the pedal point must
be regarded as the bass.1 Jeidig states just the opposite. ”If the
pedal tone [sicg lies in the bass, the voice next above it must be
treated as a middle voice, avoidinc distinctive bass orozressions, as
otherwise two bases result. This fact is of greatest importance."2

The two forms of the pedal point traditionaily used are the
pedal point on the tonic, and the pedal point on the dominant.

Example 10. Exanolc ll.

l 11 .L

   

o I . O
RIVIY 121:1va 5171131132121:an I
7 e 1: 7
Both uses of the pedal point annear to have evolved from cadential
patterns to help establish or reaffirm the key. The pedal point on the
tonic may be used at the beginning of a phrase, or at the very end of
a phrase or a cadential point in a conncsition. The nedal point on the
tonic sometimes is used to emphasise a plsqal caienee, beinQ'Ub*f as

a common tone with the subiominant and tonic chord at the joint cf its

conclusion or resolution as a dissonance. In the same way, the dominant

 

I -—q o .
.<‘-. ~
—-'- 4'-(a\ O
m—

2 . .. . . . .- . . . H
Acolf ”cidiq, Harmonic -ateriel and its Uses C

I ‘

Clayton F. Summv ,o., lVQB), 3. L12.

 

nedal noint son clMflS is cinmirdrfi with it; r solutien ”fits the
-1 the 910‘~ V':_r"""1L Cl‘1C1‘7‘ «is a hall Csflc‘tfif",
or rcont nu: nv further to the tonic chord as an 11th:rtic cadence. The
chords to which the nedal point is dissonant may be either lie tonic or
Chromatic chords. Used with chromatic harmonies, the tonic an) );.uant
pedal points help keep the ;isscnant chords oriented to the tonality,
and thus exercise a strong tonal function.

The pedal point may occur in two or three voices sirultenaozm 1,
usually at the octave or fifth, in which case this flevice is called
-ole petal point or a 233333.90681 point. The p<dal point may he

repeated Without ties, or interrupted by rests, oroviiin; a rhythmic

repetition of the tone. In this case it is called an interruntci

 

pedal point. The repetition may be used to innurt added rhythmic stress
to the chord progressions, or to reinforce the sustaining effect on
instrunents with limited sustaining abilit", such as the e*°ne or t‘re
harpsichord. The pedal point is found more frequently in instrumental

than in vocal music

2. Approached by Prolonration ani L<ft by StQj.

 

Example 12.

1“\
O
‘-.

(a) (b)

T

 

lelf I If I “II

r —.,~, ‘w‘f‘ .- r‘ : 1 ’f \tfi", ' , l“ \ r-f‘ . ’1
A stresstd nonnarion c tQHL rwaunou by Aloinnnatlan

. . ~ \ f x n \
tone in t.c same VOlCC, ani left lly step, eittxcr a nalL-stei or a uncle-

. . M. “'t‘ .‘ J. 1-- 1 4. , - . . .‘1--,, ,h. .n.
step, lo rc1(qzwal .c U; tne uCTYfiSi'J'.{-fl-3M, k a red tone, 7 14);," in,“

-—. ..—

 

 

, V. ,,-' ,_ c1 ..- . n 1‘ J ,.,-1-... :_.
and prenarad apps; iatura. ihuse terns are loun; an ii.? to this

 

invice when the tone of resolution moves us or down stepw1se.

Some theorists use the tern retardation for the device when the

 

dissonant tone resolves upward (E xam)le 12c ). The dissonant tone tcnis

strongly to resolve nouari when it hapncns to be the leaclfig cone of

D~J
D
P

A
K‘
"3
Ci
-
,3

the scale, or is one of the other active scale tones which may
expected tendency to resolve up nvar i in its mclciic context. The direc—
tion of movement of the suspendcl tone normally follows the file U'kl l
tendency of the pirticular scale degree.

Pecause f this tendency disposition, resulting from tonal
considerations rather than an arbitrary definition of nonharmonic tones
in this sandi, distinction :ctvcvn the unwarl resolution (rrwtax laticn?
and the more frequent noun .ari resolution is uncsscntial in this case

N

the use 01 two class f i to as for the same

and does not justify
device. In the interest of reducing the categories of nonharmonic tones
to the smallest nu.ber consistent with classification aec rdi v to l:asi
principles, no classification dit in ction need he: made between an u;-
”ar’ ani a downward resolution of his ievice. In :eneral, thc urin-
ciple which determines the direction of resolution is thfl liisoiaus
tones tend to move to the nearest tone of resolution. If tr e intn;"al
of possitle progression is the same in either direction, as 2—3, or

9-8 in the major scale, the more usual direction of movement is

downward.

A distinction in terminology is made by some thtorists when the

.cs‘H‘P . ' ,v-s .r‘ +‘r‘ , ' ~, m ‘ --, .1 , A “ r~ -..r A ., 1 ~., \‘ .
'-L¢50nant tone lo Ulfd to the Jztc;iing toie Q; yrtldrdpiqq \mfidnqik
' 1\\ ' ‘7'! . . " J ' r~ 1 v.“" 7’ 1 ()1‘ ‘ ‘ ~‘r' ~ \ ~ ‘ -‘
lie, anl w.en it Lb not tit. (LA1 >1e itaj. rgr CAdJ’lC, .tanla;
”‘7‘ (2", ‘v »- r . ~‘-r‘-\.‘ ‘ n . w" + - r r ‘
o_ .310 (1) anj Ira.h1in n. HJULUSQH \21, r.iar or tnis 1 vice co a

"1 ('7 fiC';’v ‘J’h’ 1" fl 1‘ t41" 'Y“ ": ""I‘IW' "“1 "“' “ ".P.‘~ 5n ---1—‘ ‘L '3 ‘ v-r4'
s)LJ‘\)_s)L..‘s)-J_\JLl 1‘ n -LL .LL) L' ‘1, (1.1‘ CA. LJ“ \ .m.C‘- l. .g ~21 '_.() lct‘J"l (3, a'.u.c.vl LlJ _'_Cl .‘g

'A.‘ h .1 fi.‘ v' , ,, 1 w .._ ., .. is, 4. 1. ,..., q.-
lea. sootc an“ o,almin{ (u; urd _e, to (lh, nae .3» term mne»«nu on

 

without iifferuntiation for all accentvfi forms of this HCViCP, ann iLn;
no essentia1. lifference between the dissc wvn!
one "hich is not tied, in wccorfiance with the aztn l 31 action 0 J. J.
Tach. The only lif‘forvnoe is a matter of' 1;:r(:»" of “'rrre': ; the Telfir'iit'1‘
tone is heard with a stronqur rhythmic nulse or accentnation tfian is

the tone which is not qyeated, but swstainrd oy moo s of a tie. In
the use of this icvice com OJUFS frequently take into account the suc—
taining qualities of the instrument for which they are writing, or the
words of the text being used in vocal tf'ri U inrj. A L511bp€tld€ii or delayed
tone may he ti ed to its preparation when writing for organ or orchestra,
an:1 rep eated when wr: ting for iiano or haro oic“ozd. The lissonant tone
ray be tiei when tnc sane syllable of 'he text occurs “itHi tn th:
preparation tone ani the 31:;en401 tone, and re catgl when a lifterent
oflla1lc occurs with each tone.

I", "4‘n ‘I (x . '. “ ‘ I" ‘ ‘ + : a .‘ n ‘. "L .
Front \QE) atatco that the tie in an «toono_qu on.ruét<rio,i:

L“ ‘ ' “ . u m ‘ ‘ t #1! ~‘u‘ " ’ 4' ~' 0 , . -\" 1" 1‘ “‘r‘
of t,x2 urrmvm-io l;L:VL\£?, wrhl‘tndt, one tun: on bhlg’\iOV1cJ31:ltllmlt t \-

fJ-

. v n r' w,~. ‘ e a‘ "“ ' ya I V - v3 : 7‘ ‘r‘hv‘
t e lb >ro> r17 called an d390 ,1atura. -hu tort a‘flor Letura is iOuAl

 

with a variety of annlicctions and iifinitions, T~ith mzcn e1: ling con—
-usicn. Prout states the aooo’giatura is distinguishel ty its rhvthxxc
rtress and appears on the: beat, no: .t effec tively Oécurrin
Change of harmony. Cy his iefinition, the app0551atlt a may be entrrei

by ship, ote;, or 1e :et itio n, and resolves by step up or down, to a note

LI
of the chord. The essential iifferencw he ma 9: bctnurn the sun thsicn
and the agent iatura is the tie 'tself, without rein d to the particular
anoroach or departure used with the a goat atura. If the ?i:;enant cone

.nl‘ r‘ . 1- (‘~ 1‘“ J -I(\ . EVA] >. :‘ ~L1 . \‘ . "f‘f‘“ "v‘4- J- ’1 -.' (-u ‘.‘ 4-‘4- -'. ~. .. -:
(,c lo In a gilt) .:(,I...>lOTl gt, 1'. J. '- v 1(‘1 ,‘la.; JFLJ. 1U uQnt‘. ..J «11/ v 4 -tr...‘
, J

P-
01
C+
Ho
9

J“
.14
(1

he classifies it as an aifio:tiatura. We stresses this lietinction as

.1)

o o o ’0 P f‘ ."_ 1‘: V‘ "“fi '- ‘A V r ‘.-‘- ‘ flu! .— .
haVin: much Sirnifjcance, ulthuihfl the :Lffcienurs ale not alnagt .ie 1

in his flcfitition o? terns. We states that "The annO‘iiatira enterinc
by renetition shoul1 not he confuzei wlth the susncnsion . . . the
distinction is of treat in‘ortance as the two intrrnrrtations are wiiniy
different in rhythm ani style.”l ?rout rogerfs the l Ffer nee: unh-
jectively as matters of interpretation in rhrthm and style. We fails

to give a clear semantic distinction showinc differences in the manner
of annroach which would serve to define the two terms nrr~isely.

The term anp03diatura has been used ?or a nunier of accentel

 

ievices, particularly when no agreement exists as to the manner of
approach, and consequently has been given nultiple lefinitions and

meanings. Con?using the meaning of the term annojfiatura with the

 

b115318715103 dCVLce can serve no cons ructive nurjooe in the pciacofiF

of theory. The term annor~iatura will he discussed in connection with

 

the device more comnonly known as "annottiatura”.
The terms 111ayed tone and snsneni 1 tone are inscriptively

functional relative to the herncnic and melodic conttxt in Yhich this

0 O ‘ ~ _" r >3fi'\ ~‘ .V ' - I 1 . ' ' " " ,.
<39V1C€élx3.f0unfl. ,uo kfi1A11 ttnzn,*iquallm"'nlonr,tm3 tin uVN3u1in;‘c:.ur1

-4

~‘ .I‘ Q 5 N w" 1". r , ' . r I‘ - ‘1 m ‘ ‘a‘g‘ -- y‘ -
and are .eid ovex 01 custaiivl thile a ch nve of cnoin ou,srs O; .h_

"H _‘ .. J A

r K ' . . A ‘\ , 1 4- ~ 1" . ‘ ‘ ‘v r\ ‘. ‘ V b ‘ . 1' I
dcnwnt- éuor oieflivi ooc<s, haVing CCCUQM litsonant Jith a chance

0)

 

 

-.-..—..—.. u‘ - -

4‘

llhenezer Prout, Warmony: Its Lneory ani L
Augener & 30., 1889), n. 3?.

ractice (Lonlon:

 

of harmony, then nose to an ujilcrnt tone 0: the nww chord for rrso-
Y

lution. The term susocnsion its etymolor hein' from th( satin
_______.____._._, . ,

I

‘-- 1‘ 4' .N " ~ \A - 1 4‘ I r- P \' in“. v: r v a r (
sdsponlere ’to hold libel, fOlmung a ontinu.1 on of,, o.iiinallr was

0

 

asnlied to this levice in strict counterioint, an} has been the most
consistently usel term for this levlce throughout the nervon'c ;erioi.
Richter (9.9), in a te: tbook used extensively in Azericen ;on—

J-‘r

cervatories tcf re fiorld Tar I, con iirrs on: snsgension

J.‘ - .L
hilt; L 0‘) v

innortant nanner of linkinf harmonies toqether. We defines the sus-
pension as a device 32ich "arises throuch the dolayinq of a nrodression
of a voice, which is cxnec ted at a definite time, or even necessary,
and in such a manner, that the voice, which has to nrogrcss one degree
downwaris, in order to occupy its iosition in the following chor:,
lingers still njon tic tone of the first cford, while the others aro—
:rrss to the seconi, and this voite foes not pass over into the

. l .
harmony ur til later." Fortunately, more recent attrmits to lef1nn
this device are more direct, and ore: rted with greater cccnonv of words.

Hebster gives the following iefinition as used in nusic: ”fhe

holding over of one or more tones of a chord into the followinj chorl,
thus producing a momentary discord, QASAPWJLHH the concert Which tle
ear exnects." The term may be interpreted as an lyinj both to the

holdinn over of the tone of greoaration and to the delay in the a:ne::—

ance of the tone of resolution. Thus, the term suspension implies both

 

the common-tor e nrenaration and the dolaved, stent ise resolution of the
dis :ona nt tone. Tiis tern till he used qusequentlv bro use of its
-1

~-Lo “a. a r :--:~ H“ r «.mJ-r a
CoffiOlOdICdL a1 ronrlatinr and brc;nse 0 its h )torical ac,ugtinoi

in ceneral usafie.

 

lRichter, p. 10:.

- . - -\,e,/sr‘ ..' (.n .‘ ,A 4, .: , .e-
Joseph nChllllt e2 ‘17) WlVCs a CenCIse Icecr-ntlon of the

historical devaOnment of susnunsions, cenelulin: that the correct use
of suspensions and the supmorting harmonic structure unier the susuen-
sion became crystallized in the einhteenth century.

The effect of a suspension is to intensify the chord by means
of common tones which, while being suspeniej, rise in rank

as a chordal function aftcr which rise thev are then released.
Every suspension consists of three consecutive chases: prepa-
ration, suspension, ani resolution. Cur ears, lue to heredity
and habits, accept a suspension only on a stron: beat. Fne
source of this habit is strict countergoint, in which iisso—
nances were only oermittei on weak beats and on strong beats,
by suspending (”tying over") a connon tune. classical harmonic
structures had not been fully crystall‘cel at the time susnen~
sions were used in counterpoint this w y, and so these susiended
tones produced anti uated harmonic structures resenolins those
of the 011 organum tyne.

The followinf finure illustrates the evolution of
structure unler susnensions. It has been gradually realizei
that it is necessary to supnort the eleventh by the ninth; the
ninth by the seventh.

Example 13.

XVII Century XVIII Century XIX Century

 

Schillinner states that the historical crystallization of the
suspended chord seventh, 8(7), as an inienendent structnre occurs in
the eiehteenth century, and the susnended chord ninth, 5(9), in the

middle of the nineteenth century. We concludes that the harnoni?

~- a. $- ,~ 1 ~ "~ ,~-, ,-\ -. u .w- AnAD' ‘ , \ .n,‘ , D..‘,c,. 0
E>I,I"..Co‘~ll‘f3.. UTIHGL‘ v ‘ofu ”13407112 “fillet; 0014037171 In“: tilt: l‘ J" _'.-.",t’ i .5 ‘;.: I”)?

correct usage, shown in his illustrations (see fixannle lg). Schillin*rr

‘ ' ,— +1«n 9.: . r‘. ' r...‘ + ~.
so beliCVes tnat, m Ile snaiene n3 in ClfloLlCal theory are aluavs

6

\L)

n ‘. . - 4." . V‘A“ ' n ‘v o Wfia‘--.P. 014' ~ ‘-"\.
descenCing, it Is inyo1tnnt to have a ersten or cla1cieicnt1~n .chn

V‘ . ‘ 1 v \ 1 1.‘w 1.; ~ ~\'~ V ‘.-‘,' ~., ,y
prOVile: for asce:n inr r<z1 .cions e; s1nii.u_wn,.

.fl‘l‘n‘ CL‘1“.‘+‘LT‘-;1
-1“ ~2ng ~\.IV .'.~._

enniitinns filvcn h" ‘chill 1 or for the corrrct
use of sinnle, iouble, nni

A single 3 s1rssi1n r cmliras an 3;?
-‘ ~- \ ‘«» 1— .r'~ 'D‘* 0\\‘\‘~- (' "
susq(nued tone is a y1eg_1cd 7th. \She o(7 ,
>-. .H v _ ‘ 4 fi_ \ (~ ..-., “1. ‘ \
2.91amn1le 13, more conmouy 1... k mm a-) ._,!.e_- 21-; nth-1.1: nelcn).

A double susnrnsion rec ires an SI?) in whizh the
susnenled tones are the nrep nared 7th ani fith. (Thr 3k); in
gnan as the J-c susnension).

A rinle susnension requires preparation of the 7th,
9th, an} lltLi ' an 3(11). (The Sill) also is known as the
1- -;; olKJJFIluliJl).

J

~~

bchillinrer makes the ouserv~t1wn that all other structural

uses of susnensions not conforming to the above patterns are cruie and

l

O

antiquated, and create harsh and en ty—soundinv ways when orene: ate“.

J "J

Further observation “ regariing the tralitio1al use ani infini-

tion of suspensions in the eighteenth- eni ninrsern*1-century styles

, , ‘ ‘ 1‘ n -‘ n' .
may he mawe as .oILOTL.

l. i s'snension always in a stressed or accentrfi tone.
2. ;usoensions muat be prenared and resolved. This co litlon

"a" —,,-‘-. 4‘1.” ‘C‘r‘fi 1‘ ‘ arr ‘lr '( -"- 4-11

plFCluwuc u.“ use oi the term 'ango :iat11 ”, as this uklm
-.., 1 7’- .‘3..l'“ ~' ‘ ‘.5 m .

freanently Lu u%i_QUl to enclu;c enlgs to the nt L

).._1
i4.
6’.
f
1:)
u—I

'\ ‘ ‘r-»‘ .4 H r J L .1.. . .5}, -. , ‘ A . : .;_1,| _
). Botn the OULHCnulon‘ and ibb resolusion must occur ”n -“e
1‘ r. 7‘ . .~\ fly“ " V',‘ ‘ r V - fi‘,, ~.' ‘ ~.- ,_
same VOiCe. (“1 in1re (n iceotton may he cini ”hen tnr

susninded tone is resol'efl at a higher or lower oztave {a a
- w r. -.‘ \ ,5, . , ’ | 1—] ‘\ - {“. .' x“ yj‘\*. 1‘ n‘! ‘ '. ’\V‘ a
result of a :na 39 n 1h<1 LCoatLUHo -kic tice1t'on “01 t L:
‘ ~ A: A r .- n 1 -~ A . . ' , ‘ , . 4‘ , -
to tne J1 ncinle r ig'rl 1 resolutlo1, the octc a an} t1w

.J
unison aie rega1uew1 as the same tone in harmonic structire).

'-

h. A s1spenied tone anl its resolition slm~ 11 not he deubled
in anyo Nth rvoiee in "ortd1itin e prevent ia1lt; use of
parallel octaves.

H ,1 A - .‘ ». a‘ - \ -\ q-' r / ‘ 3 i n: “‘ ‘0
;. A s.u,n‘mgion ncith €11iuva'1ts 01 ccu1nn.1~ C11; 6 1to1n 1l1c1e

or octaves t1’t WOill occur W1thou tre sue th .fi1n.

 

lschillln10r, y. 570.

6L

/‘ r-n ,. . l -. : , '1 .. 1. - 3.. 1' 1 a , . 1. .. , .
..‘o .L {1'- ‘."_1\‘ ." T‘A- _l_\\\: :r( "‘1 (7'1 L21 'l' A b (r | "{ n lJli- §;~__t ‘( ‘ r1. 1-”:1Vi. r)‘: (11:)
- . . _.
' .. . 1". - 1. - 1. ' .1 -4. '1 _ +
A. gun: W1111tj<1r1. L. .5, L- - \u1t»11, tnlt t1cs man -11 tr 1n alie

note of preparation. 1
7. The suspension may or may not he ticfl to its noto of
preparation.

3. A suspension usually resolves ilOUnWirl', bntn nav resolve

upward without any es cntial chrnge in its f1 tion or it;
wainition.

In accorlance with the above observations an? the Far7s o3
classiiicatiun c in. usai hare, thr susjen ion nfy to defined as
follows: Che suspension is an accentem‘i orifiurianis tone which is

1

approac:1ed hv preparation and 1es olv<l by steo, nswally gvxanrl.

A ' . ,fl .‘
3. apwruachel my 1rolon a ion anl Leit bf .41).

‘—--‘—-

 

(a) (b)

 

6:11 I I m

r ' ‘ q n .. .3. ‘ ‘ . v . - — A

Pho anv110 illuttratgd ; .xanole 14a “,3 he conc91Ved theo-
retica‘ly as an aucwnten I ssonance if an aural cone? t o. tsnlo
harmony can be estatlishwl in the second measure. “hr canv anor‘ r.;o

nay be heari and anil, 4i as a sth1ciiant chord in the fi1st 1nxe;.;on,

in which case the tied note is a chord tone and no dissonance is prvsznt.

1,...

“close (1L), 9. 121, ~oncln1es from a stid; o; froqaenc; o;
o1currcnce in th» 371 ‘ach CTJralc: that ”She t:ne value ass; n ‘ 33 5‘1
Prenaration note '5 never 1153 than thr u re vsl1€ of tr“ slquru.”l
nwte. Hormally the tilt value assignei the jPPgflTfitl'H is t?0 s;n€ :3,

or twice, that o? the s133ension note.”

:n .. ~ 4 . .n ix:,.. 2L. P or +-- a ° ”hi. ,.1 w
~ecahse o; the tonal agui,a.u3 o; ouio ‘dtu In, it Iazw . is ustl. .nn
- - 12, t1 \ .: . , r - no t: r, ‘.--H'- » ~' » . 7‘

tied note in “nan lc 14h is in iconnl licsoiuncr, two the dFVLCL calico

is used because it drviatcs from the wrinciplc that iissonant tonro re—

solve stcouisc to the nearcst tone of

TFISOlJEtij33.

An Awpnrcnt exccfition to thio princijlc is founi in the so—
callcd indirect resolution, or resolution by suistitution. k skip
sometimes may b: found between the dicsonant tone uni the aviarcnt tone
of resolution in the Lane voice, Lhile the actual tone of resolution

appears in another voice, usually the baos.

Exanole lS.

 

D. IE 11%.. 1% :27 I

This manner of resolution is regarded as conforminr to the

‘

traditional nrinciole for the resolution of cissonence, ac it repre-
sents an octave transposition of the tone of resolution to another
voice of the chord. Che harmonic pattern usually involves a change of
chord position from closed to Open, or vice versa. Theoretically and
accoustically, the octave and the unison are regardgd as the samr tone.
This pattern represents merely the octave doubling of a tone found or
'mplied in the chord of resolution.

What may ajpear to be another exception to this principle is

found when the melodic movement from a dissonant tone proceeds by a

,
06

skip, usually a thirl, and subsequently returns in the Otvositc direc-

tion to the normal tone of resolution.

1 I

37;.a'233lc lo .

(a) (b)

 

Czl’ I I I

7
This nonharmcnic pattern, Mhich 3150 contains a £030 or TCSOlUtiOH, l3
regarded as an (mocllishcd resolution of the iissonancv, ani will in
treated in the classification of coutincd no harmonic device'
Jhen the prolonfiation, or tied tone of the a wroach occurs sab—
sequently as a tone of the new )riad on the followinr beat, the

"suspended” tone then is a concord, and not iissonant at any point in

the measure. As a harmonic tone of the new chorl, it may, ani frequently

is found to procress by a skip to another chord tone (“Xamole l7).

Exarnle 17.

 

C: I I,
4

This type of pattern contai.s no lissonance to be resolvei

Some theorists incluie this pattern in the fiefinition of susgr“'ion,

'-.ls..._

 

(7

n—J

' . I‘ ' ‘ q: 1 V . ‘ -‘ ' rv' \ ’ 7‘: :l- v“ ‘ v‘ - fl. .
Jiug‘i‘fiirrt‘the tIVXZlPT’Vl'lPliQ‘_Ll(Jl oi {filo 1(Ifl‘ 01 1x1“ r.-_n 0. xi». to;

\ ‘ .' / '."‘ I x» 1 . ~ ‘< ‘ . '1 | 1 ~ >V‘r 4‘" - A I. . o . ‘, sv‘...‘ O I....
alone. IOI‘I ls \l"!,1 C} )fllle th LC‘I YT; L‘Jf, ‘(icl-JQ tab will... if”. .L’ ”40": out

0—- -_- M..-“

C"

srolonch tone foes not form a dissonance, but he describes the effec

."l

as ”vague and characterless We does not clarify his terminology at
this Joint, anoarontly becaise of the lack of a satisfactory basis for

-lassifvink this device in any other catiqory. Weacox ani pennann (9)

(W

not that some theorists rarer; this particular fievice as a susyrwsion,

(D

but object to its teinn classed as a nonharmonic ievice. "3he lattrr

. . I I I
. 4. 1 + ‘ .- 1.- .. J .. -. 1. t- . , 1 1-.-. - ..
15), :3 bl 1r: uJ._" LJ ”‘9. “I: :’ T10“! a \J 1:; 1” “blclvl, |.]}lJ ‘1L! '\,‘4_('.la)£)i 1 n. 3' ”Half Eta L'-

., .- .. . w,.' w .' .- n'r‘ .9,: ‘ t. .. g .- ,
Stu.ncnsimr1 of int: t-3_*:, Sl'VK? the lit th tub; u ocxui to tiJ‘T1lubLYV

‘_ . f. .. ‘, ‘2 .‘f .:, ~ v~ .‘r“ (”I ~ 4‘ f>\ ‘ ~ r. - - . . 1‘ -‘ v“ ‘ ' ‘
thirl ol the ch01}. VI ufO uhl aixyai ga' IfilmtD this uFKlCO to LUtn

1

S‘.1:j3ff\t“flijl'-C”IU an» rri-tardations, but IT'.X‘)lalTl that it "on: not coincilr

with their deffnition of tithcr a susueision or a rrtariation lrcausc

‘ —' : (-(‘ r ~, -:_‘ V f‘ r: . ' t ‘ ‘ v‘ 1“ r r‘?! . 71'- - 1 y r -. .-»
the ilssonant tone rfluCflNF1>.Hlbdthtlf, or on snii. L:vgrza>>l§ tut

\J .-

tern orivinm note to tnis device, a tC‘m define} by .taincr anl Tarrett

3

 

 

as ”notes lriven th‘ough the ensuing accent.’l

Fridge anal gamer illustrate driving notes with the follomngj

h

 

musical example.

Exanole 18.

L

 

1 . .
Norris, p. 78-
Ieacox and Echnann, n. 1.3.

’W

C: ‘. “+ '. ‘ ,' ‘ :.~ TI‘F "\ ‘ r Ii. 0 ‘. I V ' ‘ D "“ ‘z '
Joir Jenn -tatnvr and a. a. .arratt, n ,iatluiury oi «cical
'“"l n. ‘ 7' I . ‘ Y W :1 r“ 7 V. A f‘ ‘\ .
terns. (nonuon. .ovnllo : ,o., a 1., la? ,.

l

 

.J

L . ‘1” ‘ P‘ 'J ‘I‘r fiv" .. '
Prl’l"(j Cir-I‘A ..'(l‘ul{\"r.\r_\r’ j). l_LO.

/»~

0d

Hull (11) also an lies the term lrivinfl nmte to this invicc,

m..— --_-.

 

~ fl. 1. o . “‘ ‘ ‘ ’ ". ‘l ,‘r "1‘ ’71 'l\ 1r: . "' . r . :I ‘u ‘- \ "‘\ (~r\ t I (‘
,. ,- .... y. 1.: 3...... .w- "1-
Cl C' not/(x; “(1 .A caC.x.
~ ‘ ' "\ D V 1 ". ' ’. "t‘ ' rt \‘ g~ V '4 r 'I V—bfi r\ ' ‘-
inc dbt oi nizucnlJ<3 dissona.sc incohes «(:3 LOJmun in the
VI' ’ . $“ *7 1 ‘ V'l‘. ‘ *D v I V ‘4 —.r-.r ‘ ..‘. « . ~. fl 1 -.I 1‘ I
ts ntictn centurJ, .ut has nivlallr .t mliflw as an ”inacxzwcs” i20-

n _- V
,

., A ° 4. .- .- .3... . 1... ,
celurc in saristr “VTLO‘u o- sarncn_c

AW
4
5.)

v . “ ~\~' fr.‘ ,3 \' w W (- ‘ . .‘ ,3 , v,‘ ‘ »«.,. . ‘ r‘ . v .
harmonic tonc a arousica Ly .roionration ans lcit b; phi) is iOTII n tc

1

' ': J' . r \\a \V‘ ‘. ‘ '
trc._ticnal ha1n~nic pl!

0
c‘r
H
0
"w

«1 rs . ~" \'."I‘ 4: r » (‘1‘. D: r‘L. —‘-
.2221; thflTlT'L:T]O .Jrszforsc.fl_(:1assisfluéati:‘-.

h. Annroachcd by thn ani ert by Brolowcation.

 

-‘ 1 r
Vfiyrv-Ir: 1“)
-HLC..' a. A_. O

A

 

C132?7 I I I

Tse step-prolonéation pattern of this device is seen as a

reversal of the nrclon"ation-strn nattcrn of the susicnsion. A nn:?cr

_:‘

(~fir‘“.' rv';.v~
a 01kt) r ‘1.\),LO 1

of thporists describe this chice as Rein: the onfinuitc o
bccan3# of the rvvnrsci rclntionshiw of tap ngfiroach an: tzn icwaitur;.
Another innortant iifftrvncc is found in thc fact that this icvi 0
occurs as an unacccfittd fiisscnnn9(, prcccdin: the tonc of rcsclution,

while the susp0.sion is accented. There is a vcnnral accojtaqcc of the

tcrm anticijation for this dCVLCO, w'th few exczotions. Chc use of

,....

 

this term clearly is suggrstca by the rhythmic sosition of tha iisscnant

 

v. w. "y . *qrx , 7- ww‘ ': ‘: .- 1 . . ' ‘ 1,, r\r ‘r — IV " . 1‘, ‘1
tone, Jh1(n in -art ”a titi,ate ' its asiwarancv 11 the io1L shin c J1..

v1

Etna oisso1mgt(?'telvx 1r i/i'i“ rnrtc, wisr 1 her SCXlC .Ln 1.i-‘1 Linmari it;

 

for this device dxring the lattir pert Oi the ninetrenth century, is
seldom excowrtcrel in thcnt‘ 6th centnr" har ony t(fl’ mi soks. l Tull (ll)

aonlics the terr irivinj note to the anticipation as well as to bssic

 

fievice nnmter three.
Piston (21) uses the term anticionticn, dos crihin' it as ”a kini
‘1 - ‘-‘ / A a nu w/ ‘fr :n‘: ‘
of zx3varvww Simini rt? of :1 nrnxl.” (Tttruni \2KO Wicnrtles 51.;01k7 r..:iiiu.s

4 0. -.t. n. "‘I“ I). f ',-‘-.Vv\q" . .(i 0- Y‘ Inf ~ ‘1. t ha ‘-" .,|1, r. “Y""' ‘13 ,
KAOJ. In}. 10 AI Ln ( ‘1Jl‘4J-.«CALIlOvl l\’ (1 n01"1;(1n10‘11-c 0:1‘. Il.]l 1.1 LA‘O~;.L .‘i; U1.(

same nitch as the harmonic tonc folloWing and is fonni in a weak

A

rhythmic no ition. ”5

Hhile the a>n1ication of the term a*rti cioation to this dLViCO

 

acne rs to be centmrz; 1y agreed unon by theorists, the term sometimes

is given a broader and -.crc inc clu mi e intrrpretation than is con isttnt
with t‘ne classification herein presented. Horman (18) atteupts a
further re inenent of terminolory for this device, in an apsarent effort
to clarify any confusion such as that 16ft by full. Vorman jefines an
anticipation as ”an unaccentcd fOTCiTU tone which occurs direct1y ahead
of the he) :t brat (or a terbeat) anl t}(n r€d))(urq directl; on t.rie next

h

a \ . . p, .
beat (or aitericat). Io comi‘icnte“ his ficfl tion by attcn tin? to
distincuish between an anticination which is tied to its rcsolntion and

one which is not ticd. Vorman refcrs to thc iissonance which is rc-

nratcd on the accented juice of resolution as an anticination. and

 

 

.1_ _ _ _o '7... .-. n ‘1'- u . ’\"“ " ," ~- _' j . ‘ I M1
lgreiurick ”icchs, :n his JleTbuurd oi .us_3n1 .vru , 21 an.
- 1’."‘.7‘, " ,1._pf _ .'. ' -..- .. ,.. ,.,. .,,i .~ {Vt-r” i . 3
( 10"1 10“: h11{:€33’1“r, (J. 31/131), \l‘iif‘lflo (lI‘l V:-?L;A Hui/*1) 'Lu "L1,; 01 I—LLH‘fIL ’\ 75. .
I

name for synconatei notcs.‘

2fiston, n. 91

30ttman, p. 130

bfiorman, p. 61

7O

-npn tin» . g3“
ilvt. VL'.K£ I» JLL .0

srncons'

+ t

of CLHss-f-t.tion odours wnca ,s c‘wicr of L“F'o“-

l 'r “I I .‘ \pv \V‘ 1 ..,‘ tl‘fx \‘V‘ .'.‘ )nr'. 3 \ t I. ‘, /'\( ‘ c t: ‘1: 1 «a .
o ocx is Ja.€ its 1 c i,sn ”a ,tes( cc CI ass qtt o- a .11, in 1, t
- ~ r‘ -: Q ‘ 1‘ a. :~\r‘ -: r‘ ‘ y 3| ‘1 -“
to both the susdontion ani the anticigation. s-nc b} ‘iists (fLW‘,LQ ti

tie with syncoyaticn. JJncopation is a no rical stress on a

‘
I
\A,

\‘Y

L ')

weak ixait of the :i(as a, emi. is a matter‘ch I”r,'th;i

‘( ‘
11!:

3‘

\J
L)

71

U CCAIA V"

then melodic attirn. s~tI (m be c10at< in Gt 1 ways

ise of a tie. synCOiation can be achieved

. v1- v-r .‘y r
stron" beat, use out ”cal not.

or by tho

“as

V ,' z ,: ‘. - . ‘. o - '\~ .7 . I . ‘ . trw u v ‘
the tie ori i ail] ocaatn: sJWto¢atitn in earl; s

Yl()l‘

than my

)OClflp

‘
r . . p

.11LL.~.§. V
'l

019

by the use of a rest 01 356

’I j 9‘ ’ ‘ u-(
11.]. UES.\) l .1

,onit

QOlfit, tho wrrsencc or absence of a tie is not to he rrczr?ci as a is—
tcrnininc factor in thc classiéication an? terminolo'v of a no harmoii
dcvic 11in” thtstfsfitcCWt :vii nin(tvcnt“.(n:it:rics.

fiormnn presents a furth(r contli3xt10n in trrm‘m' slo~" ani lw?i

 

nition when he introiuccs the term free anticiwatioz, defina. as ”an
unacccntcd for2itn tone which occurs directly ahoai of the next brat
(or aftcrbeat) and then in tcai of reamiea directly Jroctcls to a
iiLicrent note of its iropvr chori on the neat L(3t for cft’rbtat).”l
Puo different basic jovicts in the a>)ro ajh—dcyartsrc system of class;

1

 

al (llldulu rat:»1

(“—
s-

C

fication are th: Cb" confiunica, by applyin the term antic , on t:
a device which resolves by a skip as well as to a icvicc which resolVgs

2

byo Mro 00~ation.

+ .
ob

some theoris awvly the term anticigation to lovizes

w.
I.

‘
F"

‘
.‘
.-L\J.A

 

1 Ihid.

 

2. .
an interes

tin: footnote anwrars in the last na~c W. 1;?) c3
’Jr. ‘Torrxci's ‘1a1tacfrf tr“ ttcuic: "30'riri Eit n‘0t‘f‘tltfli it; n(._thrt' 317. 1'
nor desired on tfln t rwiiolo y, '" ‘ilisi, anfl 1~"'nitions {f‘io’ul it
tfi.is itocfl:. ’Thri out}.or‘<: n:_riuc:13 all. of ttv: *(I“.in'~ c "' 06L: ‘V‘ o. .J;
an? c xi: of ttv‘ 3‘”;nititxns to ix: COKgJJTQCl¢' gv ‘itlii, irnaii.

s»: rn‘

 

1
.1.

7

are c-ticr avyroa Hr? by oil» or ficgartrl from Ly skip. forman mono ohm
tor: dez: anticigxrtion fCl'FUlllQQTCrrflx'l HHfiLGITFVTlT tcflr afflrfli is laft
ty a skin to a ii"fcrcnt tone of thn follouifii chori. 33c 4v? W'tioo

of thc “at ilpntioh fiivrfi 13 1r 5y (1?) in lu.co t2« )0 cihilit, Oi a
8519 t the fiiou cant tout. foot? add 'pallinj (5‘ anlnlu thc yosci—

7-?

bility of a skip from thc ui“

-—.- -a—.—

gation, as an altcrfictc

 

form of t

~ »\ .. L 4- -' l‘.‘ ' ,‘ ."-' -’ ' P r o ' 4
uLUJLHb tccr in tdtir icliwition oi «ntici—

1‘.
116 {TV CC‘.

.1.

J.

+

 

 

Chadwick (S) statno that uhw anticipation may be lr‘t Ly a okifl
to another tone of the same chord, calling this lcvicc an EEIP“U18F
anticipation.

Example 20.

(L: I II?

Chadwi k otutw< further that '“n 'ntirc chord may ayw(gr in
aivancc of th' Lcat to whic“ it matur'llt 1‘r‘lon'o, form n: antici—
pations -1 all v0“"r3.”l .uch a choc} Wx‘*'rfi ma' kc co.uidcrri
harmonic or nocharnonic, de coding upon thc harmonic anleQio uofid.

Barry (Z) diffcrs with Chaiwick, obocrvifiq that thr antici—
pation mav occur as doublc or triple, i'vulvin; two or thrcc VOlJflo,
but at leaot one voice muot rctain a note of thc JPPVlQUS chor.. ”4hr:

all voices proceed thus earl

,!

r to the following chord, thcy proscnt a

v

 

lChadwick, p. lvO.

v y . 1‘ «r ‘7 , o I n ‘ ' ': y’ r1 . ~~ : ,fil' f‘ » * , 1-, ~ 9 ‘w--- ‘W ' .
rhythmic, sut not a Laznonic, dHLlCLNaLlJn an, caasc to ca n,nn unlnr

this nanc.”l If the original ssumntion of this stuiy is valil, that

all nonharncni c tones are dissonant, the tcrm anticiyation nay not

 

prOperly be applied to the chorl in which all voices ”anticipate” the
followinf c‘11<11 ani no dissonancc actually is prcsrnt in the harmonic
structure.

We have thus a vari ictv of icf init ons for the tcrn anticination,

 

which proscnts a consifl cr r7 bl: nrcblcn in attrmptind to cla3siff tris
icvicc on the basis ofa oacr anl icparturc. Ila various definitions
divewxefl>cvc invaludc tin? follcndxu; “ossiliiiit“{xi ‘xhic31u:ouli grilalrnt, 3f

require inclusion in a conqrcsons' icfinition of the tcrn.

I.)
<
C)

Androach Dope thIC

prolongation
step
skip
orclonration
stop
skip

C?
A
\ J
J

(I C"
c ‘* 6' C'"
:7) (D
L J

U) ("
H-P'P'\
9;) 'KJ t—L) '

(D

An attempt to inclule all of these variants c: a icvicc under a sin is
term combines several categories of dcviccs based upon an agaroacn—
s91 u r s< ~m cob -i 'c.. i a o'a such a h‘1ai 13‘ f h:
A part1rc 'fstC‘ 01 Cl?“ 1? cati\n ‘o J 1‘ IC u c c t ¢

term anticination, wit n its in1ezcnt 1151‘jcn1t_'€s o;

 

definition such as that jivcn by Uttnan is rmfiarflrl as th most lorical
ani 70st nractical for instructihna wurgosrs. fhc svstcm of classifi—
cation bcin: nroqoscd horn rcquircs that only one tcrn kc uscl for each
iatci with each trrfl

d,vi cc, and that only onc saccific icvicc be assoc

in tho vocabulary of nonharmcnic toncs.

 

limery, n. 96.

' 1 v r ‘ .7 - v I" -‘ x r‘ ‘J 4“ '1 v 4- ~.
5. IL..].)I‘OCL(L (411 131‘], .Ivr. -‘ (”at t ,_1( a. L; L‘.’ .)l.;(,fj>o

Ixamnle 2l.

 

C21 316 I III 16 I; I

Examnle 22.

 

C:1 II‘DI III

The diatonic aggroach and denarture is the nost fraqucn ly usri
pattern of nonharmonic jcviccs. The melodic novvmcnt may he in half
steps or in whole stays, according to the aarticular scale degrees in—
volved or the harmonic style being used, pcrnittin: either giatnnic or

Chromatic movement. Phe usual diatonic character of this device permits

Ub‘

a scalewise movement in all voices of the chord nrocrcc~ions, proviiin“

- 1

tne meloflic enuhasis characteristic of contraguntal narncny. The jisso-

nant tone is found on both stressci and unstressed warts of thc measure

)

‘r‘ ‘ V “ \ K
but more irequentl; on tut latter.
‘? - 0 _ ‘ ,._ "" “3". Y , _ ‘ ‘ I" y. ,~,‘ Vsrx f‘
Two nistinct forms oi tlis basic iattcri RFC iou i. ‘H: Horn

'1‘ ~ -: V~" -: 1 l f}: ' ‘ v ' ‘ ‘V‘ 1 ~‘ -) 4“ ‘ "A
common form is that _n nnicn tnc lissonait tone is resolind in ofiC sane

I ‘ "I -.v‘ o y‘ . I‘ 1 - fit“ ‘7'4.’ ‘ ‘1 ' {_‘ ' 1‘ ’t‘ ." ‘7' " 'v ‘ 1 '\ ~ . V“
t! “C K) C If)\3\3.4_ tith/q 00'.!.i-(,- 1 1.x.) 1 (1"1‘ , .431 w‘ 4' a I (7, V':fr._)d_~ 'U; Uth13.A( L'J ll ;
: . < ‘nf':' fl 0 - L ~ 5 ‘ “ \‘ ' ’ 4' '
lirection, ”it. a letaln to the same note.
V. .. . ‘ ., , - . s ' ‘-‘, ..,,., fir‘1. " ' -* “‘\. ' . V _ \ ‘ ' ‘
lnC one diiterence between tn» tno :oias Li hla delice, the

melodic direction of th1 departure, tralitionally is of sufficient

.. 1 -‘V .,‘-.~-‘r ‘ . " x 1' - 4- . . ‘-. .-4-.‘-‘. . fl: 1' -
1nnortance to class_fy tr (1 ctnaiatelr. Que ayiarent si.);LuLtJ 01

V

‘

Lcr.s belies the tile v u‘irty of tr“~‘no r": anl *I-in;pions

J
1

the two pat

.A.--.. ,' 1W. .2 r. .,~.... ,r'H ,-
‘1L1r. t/J an->l;.;n {L‘tl»2 ,YlLifl 1a in A10 1).iL1_c 1? o- tzuiuifir.

(‘1‘

o . /.- r o
b {‘1 {-J' 1" r I‘ t‘r - I‘ 1 « : '\ ' \"r r“l N 1' 1 " ‘ ‘ *‘r - \* I.
“1!? 4;...rsJU r1 Oil ....'-n‘» .'_V- ( 2‘ 4.7%.. . ' (l (.1/ ALL) LC It‘wrl 'wxb :1

 

 

 

“ 1‘ . . ‘ r I .2 \ c-- «i, " I‘ ': < -. I x L ‘
fitnjlnr tone (8 :unt w or uiacc'ntv41, Liiiiiarf UOHQ \“|-.qJ.; qw
‘ ‘-; MMLO ‘u-H
1‘v1'l,‘\/‘u(".q+{)fil‘ filjnrjrvr": {1*- 11145! Or-xr\-~\Y1t(.'.1) {1,1} ”‘2‘; ‘11,,-.. .‘. ‘.‘.‘ ,|_ _. ‘1."‘“1 4' ,.' ‘ 1', L '7‘ z
. s-‘IKJJ- ~J-z , C~‘JL \. ).I_)*“U‘~"~ (L\ 1‘». ,._ ’ L A ‘i- «‘1‘»- I, 1, “‘4'.‘ ..!_. . ‘1‘ , . r‘.~l_.4
w- -- u—‘*~‘r. h.‘ “‘.0 ‘.--—.’-

"1' - . n '- .11 ‘ . »-'. ’ ,. 1 A 22 3—. w. .7 1 .: Ltd. ,\ ',.

ne second foxn 31 this anviJC tutanxle 1 -s “noun :L a nvi.nu;r-in

 

A 0“ . ow-

/ u o _ -‘ ,1, ‘ .' .‘, -
trmc gunner or 1 Her), alellaTy tone (under or lOHOF), nassiny tone,

“a“

 

 

1 ' J.‘ , . , . r.1.. .-..: - ,... /, ,-il..“ .‘n ,-2 ,,
enoellisninfi tone, iter miting tone, a.qo:_iatu1. 1acrsntia), cnan,_ng

c944.

 

'rfi ”-w‘c—l. .‘

 

a...“

 

 

tone, and slow no rlcnt. The fact that the same tcrns are a) lied to
'\. "t1“ 9 ‘ "1‘” F tk: " if: ' '\ t. " \ '7‘ . : L‘+ ' 1“ F- "1‘:‘) 'f‘ 1“ :_- 4'" ‘ 5 "11’ ' .x W 3..
L/ ‘ .A .L L- ..ls) JJ. . LLK) .46. Vl—JL’ .LA] dorms -nu dd. 1C 0 v -A 1. .Q U‘) Ulla U J. J.. J-«L .. IV
ia tions‘nip exists t mt een the two devices. ihe terninologj as usei h
some textbook erters would seei to i jly no distinction whatsoever.

Allen Forte (7) r638 “‘15;- the (1"fCC1‘LEir'e Mott'e can t 9 two "L

-1‘ ' 3.. 1,.3
ui this HCJLCC o

+ rn'" "' '1 ‘7 "it“ 1"" Y“. 'L l. '1“ H “In ")"1"" " “1” "'10" r3 '3': 1"""o’n‘r'n‘ M) ’7 i ""1 l” PY'H’" *' hr.
V-Li.‘lt) C \A ‘4‘&. ...LJ...‘~J.X s). -- “ ‘(LJ"--A: I — 44 t—- -u U 1C4.\--_/( A. “v _.- - . ‘J .\'

~r’ v rfi‘x x . ' t“ ' 'L ‘ o \' ' n' D IA ‘ Q'" " L‘ x
in .11 r' not“ 111 flQIlLlaFV into zugnntL iron an} returns to Lit
a
. I
r, - ,1 _ 1'1 1 ..,i(...' J. .L. L. . 311""- .:- . . - ~
sn.c note. lav 1ausin noLc connects tic .ili-c‘nt .otr:.' ‘ '~. c

n ,M: .11, +3 . . ,_...‘ .9 ‘ - -.-. , , o . .7 ,V .° -1 , ., '31.. '..°
01 the iisoincoiv’ Un9_' o- tn. . o lornL 0. this JAViCt, tho iiui.-~

pr‘.’ 1‘? t(‘ ‘f‘g' f'.”:'\ .. (1-':‘1.',:1,5 I ,1.) 4‘ 1 101‘" . "" '1, v1 '3‘A,‘ h". r (.19: 1") 1' ; ”‘7‘
L‘l‘wn VI ‘5) w J‘loJ-‘g &,~\/~J la 4LI.I L01 t. L'LJ-n—-U-Qx. "-l-. ,.'.‘-§)\-—_.‘_.+'-'_EJ— I‘.

A i . .. " . .c z x.‘ .2‘ ,- : 4. n ,.
A; Lupin {"Lxltfu‘ offlirc~. o; c "l,‘h¢Lr >11 tzsin. Lax! vrurix-L;' Oi t-liis

 

'4

11 :1.“ U5?“ :5 i153 ‘.’LL"'.L“Q

F4,
"....0

‘tndont'o un1 rstfin11n' of t“: noio"" is liqitrl to the JFuLCflLaLiHQ
' ‘ A ‘ ' . .F ' _ my. A Q‘ . r11 ‘. I‘ 'i ' ‘1’“ ‘1 ’3 " V‘ I‘ ”V: ' ‘7'
1E 1 D13(1F taxtioox t. a olnfiLe inotrnttor, tne Lonttptn unin1_,inq

“ x! v 1 y 1"“‘ fl. - . P. if I ‘ ‘v >.~11 " ‘ li‘." ‘ "'
one t61t 31:10,; a>1e 1 to niCLCnt no Li nuyLCan, g1oLioCL. Jnen trnt~

tuioka CE“ in ta 1.ticuuil Au”kfl‘1‘flLiJNtI are FHV3}dI”%1, ?(I CVzl', ‘thc eagtuai

weaninf of the terms usai honours mnzn 1035 obvious. 3hr frwat VEVLPCj

of drfinitiono C171? for nyoorrntiy Lin11~ torninoleT ivu‘s on~ to the
., L .

‘y-l‘.\ «".$( A ..V ,1(‘ 7 ‘. P . ‘1'74‘ : ‘))‘1 f [‘ (‘Ir1.\‘j ‘1‘; ,,.fi j. x‘ ‘.\1 ‘7) V7/ "\(‘ ,“ 1-‘1 . .1.
V- ‘ '4. 1‘ L" 'Atvg _:.,-U-L.nl JJ. fx‘a - L’ 1'... _u. .10.; 53‘ 7 ~-,' . L

‘,. .L . . .4. .1' .. 4.1,. 43‘ . t,L r11. \..’-.-'1 ...
flfirqu for indorounnuin< LAL1 tn! ,thionlwr snoLJC 01 tnriiuoto,V
. t ,4 fl 1" jfis ‘1 L‘” ~,~ I» ~, '0, 4“ ‘1 ~ 1 P ‘ ‘ f "r ‘L r‘. ,o ': I '. 1 - . ' 1‘.
L on! 1.1. -‘.ll'o31f‘l’:.‘.0-(', .L Cl" C1) .LJ LL . 1.2.] .‘J. Tl‘v 1.13.3 A v.16 11:1. 1.33.} i0 ‘1.~ )L'v' 1

thv terminoloqy Lhoull be Painted 1 r otly to tno o;L t1-m of :laoai-

Fioetion onfiloyei. inch of thr oufno: ation in nonhxrnonio tone ter in-
olefy can be aooritcd to tie aoCCnLe oi a logical oa3i3 of classifi—
cation, or to incovniotenoioo in clnsLifioaLion. In sown QCLLL, terra
nflflvar to have been chooen aroitru1 iLy a‘th no basis of cinceificatiwi

as a guide to iefi nioio: of the terms. Vorc rroentij jnblioh 1 text—

7*.

books eviienoe 1Tezxte1 concern For a syotematio Claeoi'iee
v j n

nonharmonic tones, result n: in a more lOflfiiu ULe 01 terminology.

\

,’ ‘f L.‘ fl ‘- r. ’u. .‘ . 'q’--" 0.3-. , _‘~i " W’Y‘
On the oaLis oi fFGQUGan 01 duflT1 in No Q reuefit tCLtLoonL,

, .° . . ‘ , ‘ . A .' ' .r‘ . 4. ‘ .
. I . r‘ f” \ , z , . I L r u ‘ I“ 0" ‘ I ‘1 \ ~ ' -‘ . . ‘ ,
ttv2 teI*1 1axu; n igon1:: iL .ALi'Coiu A a.. ,n«,11111<n13- 1tC 1xmrn 1.03 .i.:

 

,‘ . -. 1 \ '7‘- —‘,~ - 'VII - ‘ “ ‘I. (\.. .l-‘- ‘1'.
1 Vice illze root} in antioie 21. .o: the Lufl? runLon, L10 trrn

. 1- ~ - .N‘ V ,I9,9‘ i -L1 ‘ , . ‘. , -.. v «i— \/. a ‘4‘... ...1. I
neifiiw, crlnj tone 1L Ln .CLtLL ior t3» levioe L11-nutrntu1 in L4; :Lo 22.

 

These two terns Will he QLrQ onDJOQUentlv Ln r0 errin to tho two
* . r‘ L' ,, J .. .1 J : . u. ‘ , .,

iozno oi basic devi u nontal L-vu in tniL LtadJ.

T ‘4 ‘ ’ ' 1‘ ‘ \ v I ‘ "1'1‘ )N ' ‘1' \ r ‘

in 01101 that tafl Conctjto C M‘x)}i<i in these tnO ternL have

meaning for monilniczition, the terms must be defined clearly an} in a

A ~.,.4-f L ‘.,.: ‘v\‘V4’. ‘ L ‘_W, 5....L, , ‘ .fi...-‘ .,. ,‘ L ..' L: .~ o
manner conLiLtonL with the ap,1;oCn—lL/11tor- L oten of 1-12Lbn ionoion.

‘h

Q, . I ‘A p ‘ - ,.~—.r : -' 4‘ /‘-,7.-a ' V I, 1 ‘: Ir,1»“ v"»"\'- .1!
I'bn exa’jlnatl(jq ()f 50.7.10 ().~ til-1‘: A.IA(.Ci:’1Lr1 v (~1-Qk_".vl. .."3\ LJ‘.) I V‘u .trl ‘4}1‘-‘ L‘r‘l '1..-) L 'I 1‘1‘.‘ L 74’

 

relation to CLapsLFication.

' / . : , \ . .
filchtor \25) refers to pauS;n? tonws ~b "narmon;c by-tnnvs',

defining than as tonfis whiz“ ”arise throuch tho filLinfi out, by moans

' - . ‘ < . .n t t , a. ‘ fi » Q ~.- ‘,,..--~~ . ' .,L ».» ‘
r3? tones 7QKUMT DCtJnfifl, cu irra «I‘<n annTLti 7-“.J'lkc VOLfffimjufl‘p.”1

r -. ~ '1 \ _ n ' 4. . ’ 4. ' .
‘\l“‘|-‘.“ \ f r_ 5... ,1~ ‘ ~'-\~-1 n f‘ r . .P“.'n ‘4‘ r ’3 rsy- g‘: «_~ -‘¢_~‘- 4 " - '
ix J.‘.....1 ..L', '..I_.JU .L'W‘ALLTI 'w» 1~.‘1.:"...‘.3L.-4 L, .. H 3,‘ q" .‘ .1.

\ I

p 4- -\ ‘ J“'\4 4- . 4- \ A «v',-_ I 'l. , -. L ..J r a J-‘ ‘ (a . . V .1 -.L r
)t’ru’; JAIJLJ .JIIC“. of???” -».-r.'«,‘:.1 A;1‘~"‘]'.4 '1' n‘L/r‘. W to g‘-‘LOIJi-‘.( 1‘ luvll‘zw. L1,] .J.nuu(‘r1.l

- , , 2 n: L.... M1*,.w'-~ «u:
Of. I‘:th".‘1"l" t0 tfifi J.-- 'ub u(-li.‘ all" <3L1._....-('_.L ‘4th; A1,) UF:".',‘U.
" J—‘fl—nfi u—-——.-—.—-
f. I " A. ‘v ‘1‘ 1* ‘~ ‘ ‘ 'd.'\.J"‘.I ’ n ' . 4' ‘ ’
AW11 ill) JLVab a :u:: uroaler 1;*Lu;uteu 0; wauuxnfi w n“. at

”note“ which do fiflt torn any g9Tt 0f thfi CHOT93-‘3 *3 nonhar int:

.- .\-. . ,, °. _‘ ‘ ,V' .,.,. f; ‘ t.
twin) 9.1 e lt-Tfl’ltz'l as) «J ‘ ;>::x,).1rl'lt t-J 10 w , u
‘L f

b0 all nongarncnic ECV1C65.

‘ Y 1"1‘. - 'I 1 ~ ' A- L‘~ ~'. ~ ~.— .-\ P - . ~~ - . b q ‘ l- D y',,. ‘
weltts \;6) ULUQ ULH tarn ¢aoa1nq note to lflullie both LOIMQ

 

O
M
*—
"5‘
r.”
U.
{4‘
CD
«1
HI
(3
(D
\J
(+—
‘1‘
5::
(‘1‘
H.
U:
V
'1‘"
C.
(P
,3

the passing tone and tne 131‘
tone. He flescribes 0336143 tone: as belonging to the Gate wry a?
”suhsifiiary not-q, unrssentLul notes foreign to tgfi barman; ‘ and

7"411y, "A Dasuin: note may either pan; forwari tr 3 n03

.. 1A n J. 4.1 A}- ' U r 4-,: " 7 " ‘ - . ,. ‘ -
note 03 ta,< tc tin nuts 1t otdrutu 1r01”‘ JJIILO rtvua tnw

’1... U‘ . p ‘ ~‘:\‘ “ -‘. ". '. y P +-/‘. ' ”1...: {a ‘L‘ ‘ -fi~r-‘r q , I) .\
LLLUutratlon tor h¢u MOLLHLLlOI at “My nauutn‘ tomb (JJ¢L)L‘ g,;.

«a
—J

v'\

fi 0‘
phaane 2;.

(a) (b)

    

,L. i.

C: Is II I I

6
l. l \' ‘ . ". » ' - --: - -‘ ~ :-
hltchell \lS) Clfia9l;lfib pagoLn; tony; a; :Lthvr Zflfibflfidnt or

dissonant, prfigfifitinf anothar conun»t of this Emvifie

~ : 9.
n'-LCi£ J.Uh1.‘.l.1‘.;o

the chrdal skip and allows for both accentul and unaccentw3 Torma of

a 01 a 1 V. n- I _L . n ‘1 (\W“ .
this "detalL o; mLLOJlC 1;;uratlon." Mitchell fiLVbo “he LOLLomin:

1

. . . . 2
illustration of tnc gagging tone.

Example 2:1.

 

" .‘A F, 'I\ ~-‘ - J‘ r ‘v‘f‘. ' F." . ' . ‘
Hurjuy (1,) blfifigtu “mat “ll pduQLag boa»- aru )FOJDFI] re-
. ‘ w 7 - $- ‘ v. 1 .-., ‘ ,..- . - . + .. K W‘ J“: .
Pd? 1011 Eli) 0711." uxlopl, QUIT '1) .J.i;.C'.1 01x: 11‘ a.) Ilnrlu' 737. Huh ,1 ff‘lr‘flq OJ- 1; -)

device, but he is not entirely glut? in Pafi”d to his own w’nvg‘T‘

‘ . ‘ ‘ \ r~ . v“ \ '. J" '- " ‘
cablon at tho xQCCxteJ ;0rm of bdt

. ,4' -. ?.,‘ v'.. \.L
cdg_;n¢ VOW“. :r PAplQLWa tncb

'7‘ "" "V'- ’ ’ I. “ ‘ ‘ ‘r \' .!‘ " r f ‘ . ”I' I < L,‘/ r .‘ ‘I "' ' r‘
';.O:‘ lqibL‘JJ-‘lcrll r'CJdQ \\'1b, Llornxr’l tAn(:'.)I‘lQLU \31—7;§JI~J.— LJ’ 3L; V:‘J:‘1U’_.K1 4):?‘L’ld 15.}1"; L'2r1‘ ._)

 

lxiuchell, 9. 12h.

2Ibid., p. 126.

cu c\ .1), r"... "ILI y..--..,u "
an VJ ’ , ‘3 ' Ck L; 1L I’_~L.) o

 

try—z cw. [1“. ..Ht~.'}.‘+.. .. WW 4. ,‘n ,M w
...l.-.1L.‘_ ;._v£1 \ -« ’/ ‘v>‘.1 a...-J~Au’ V (a 'Vu L-r-J. Ml 'UL‘, r; 1011;; '-J.‘_ '..,'\.‘Al.,‘4~-'.l_ J.‘

t_“ .

I 7' I '. a \ ’ 1 F‘ .\ x , ‘7 I“ ’~ I‘-
to tflv‘ tax? 4hCfl;333’Cfi$1 Clfih)QLL11)1thfll oi rvfin 'H“‘wfif_f thi... o, .g

.: - n . . ,- : w: M - - 1-4 »-
nttlon 01 tho o.ou1nfl tone drv100 cotdolwuu :Lt» tun Q?JPOWuL‘1V7QAClrQ

on- ' 0 1 0‘ -

‘1H.Vr-* 4 nl'* ‘,\.*,"I x ,c \‘u "fi’y‘l " . ‘ . Ly‘ :vr r“ ‘w,¥I L‘, ~ $~ , o ‘ 3‘... a u +I‘7‘.
J an.)l_t1.~~ JlOH out.) ‘ LIL/(A L -L.‘ Jul...) UV‘Axxu o l U1 U 1' l‘ _- 3 . J. .. If) UV .(3,

H3
'- o
,.J
'I

v
b-J

l
C
I
r
'-l
I
(a

jevice, how‘vor, he use; the torn Chamoing tone, iv

 

as a non—chord tone whlgt o~ouro ”tot can a chord tone ani itt ra<e.i—

1 0 o o

3 '. '-v ~ r, r x .n X. t . ‘) '1 f - y ' ‘ I y ‘ . ~- 'y .. 0‘ 4- “ »
tion, Ln “taflcr “tortt pOoLvl01 tug} Clo“ r, at tau

(4'
’50
J
' J
3

second above or b:lox.”‘ Ye givea thw following illustration of

changing tones.

 

Example 2%.

 

V‘ .7 . _ 1‘ ~... ' h‘, »—wv . ,. ,1 \ .., ' . VP 3"“ ' fl - I- ; . f‘
11ndonfith'c teiuLnU”OW( next 1- .ern .rot taut o; a “adorLty c.

f“! ‘ ., , , '0, ~.« (1 :‘~,-‘ .,'+,‘ ,3 ' .. A. k ,9 ' 1, A,
the r_o.b ani Aaf be contuoot {lJJ a uDVLCu uO ;v .Ltglo.44 wt“:-

9!

' ‘ v‘ " - ’1‘ \ '1' . a“, ‘ . ‘ , r‘ ‘ . '. .- »‘ -‘ , q I ‘.
Te 'zort)‘1~v‘ t.u bOIYI nrq;,1otufc1¢ tuv1-, Lvlt 3-1 {.r1_rr1«r Tu; Cit -ru.LJ

. -~ . - , Jaw: , fl .. n w . " :11” f
to btill morw contao‘on. ‘5 QFGLQth t rec ceon_ort~o o“ nQ_YJuCang

’)
tones and illustra To his infinitionu, as fella a.”

 

 

 

 

 

 

 

 

 

All

 

 

 

79

 

 

 

"w , . :,_‘.‘,. ,f, , '1- ‘ r it" n31“. " ‘
izze‘ I195." «OI i1 ‘ -umn: :J -‘C tiff or L4) iuiJ) L; lLb
‘ t 4-. . rs ‘ . v"\1v r-1 A r" \- <(.r‘v ‘ .‘ ‘I' x"',~?., ‘- f“
CIT/)1]. val—1C.) at he lnttlfu- 0.; (1 9994.11, QI'J Chuu .‘xg tv
.' 11 1. -" V7 .' '. -—.' \ '.'. “‘ z j r‘ 1/ ‘ ,. ‘ xx. -,
artitgiea‘ exiorfli txoncé to av-l J- --u <3J«,iii, iii rn~e a;r .ir ti u-
- a. *. I ‘ ' »1 r\ \
nosition tnan the chore tones:
1’-‘-' \,. \;
\dAam 10 ?7}
F“ \ ‘ ”N" ‘\“ .l d ' . “ I “‘r: v *fi"r\ ~
iho Je.fluoorint .on» unproao oi by ”AL” JFDCnlwo

 

 

its chord tono at the intbrvnl of a are
rated from the previous chord tone by a

beinv sepa-

(Exanolc 28).

 

V

definition of the term neifihboring tone given by 1inie< to

F3
:3
(D

 

presents an extremely broad interpretation not bhnrefl by moot otHer

L44

<. - . 1‘ ‘» , 1" r \ : -' ’ ‘ r l \ G r, ,‘ ‘
me LflCllulOfl of nonuniinii; tUQPq a}QIOoMu:J b

‘o '. . .q
,r n'Pl'foL‘ d.“

J

‘ - "o c ‘ .‘ 4- ,. "5:! , ,..L.-V .‘f. .- . 1 , .r-.. \v‘. I \-‘ -\Y .

left my Sle lWJulVCo three iiicrent Cat-g01ieo of odui: n01 414-3ic
I V '. l \ '. ‘- n \ \'. ... “ \ ’V 1 r "‘ . ‘5. J” ' V r“ " ' ‘ I‘ “‘ 7' ‘

devices in too algxoauh—Ae,aitnre CiduuT ication. ih-b anfiiCqu

- V U . '1‘ 1. ,Jr. ‘7 7' . o _-,‘ . ' .1 n n m
attempt to sin liiy toe one coriee oi non uJHOULC lev one gllo more

- fl 1 = ‘ - t . v9 ' ' f - 1 1 . I v I' . - ‘A - ~ ‘ s - 1 -. \- r ‘ ‘ ‘ \ ’ J-
conius_on tnan alarit , -:rt ;a; r r Litn the Hfllulur Irton-:~in'w a
.- - .1 V.'

...
\

twrnint-0jy applied to tho dovioo: illustrnt d.

1 \

~~ /r-’ “ ;. ..'. - . '. . ,_ r -,
emery \;) aiso noes tfic turn onangtng-notv in rciorcnga to tip

 

‘, "r*"w}’" ': 1" t\fiw T, f V‘\ ""1"?"
JClv-JUILn5 but nevici. on

1" ft. , . ‘. ' ..
1.1-15“; 710w: {lb 0633111:

came as the passing tone, exceot that it returns to the same note frun
‘Q

"h:" .+ a v« "'L fiv-mflv ~1-VV-‘v‘ ‘1' "" ‘ "’ ”i - "‘ . .. ‘ 6"- " ~"I

.‘I'.-.i‘\,‘.f‘l 1v @3149. .Lqu1 Jr“ :_.-A-V{'LJ LAC w.I'Tl 15330“-..71;_. LU?” a mill: ELMLL'ICI

 

 

 

emery, a.

\I
>V4

definition than loge ?inleyith, itinj it to inclnie a icvice WE pilot
to the dissonant tone. ”A skin—note is a varict“ of seatin‘—mouc to
. J

which, but not Iron which, a voice may wkiv.‘

Chadvic k (3) uses the term (frcllis“g=nt fo” t3: We; hooriifi

 

tone device.

-' “ I 7 ‘ ‘l‘ 1 ' W'I \ 1 ’ "I—‘ '\ ~‘ ' 4“ ‘ . § .1.
nect liaim inic toio adore oi tcio», lutwric to toe rune one, 1o ccllcl

'2
the er velli““n«nt

 

Any attogyt to correlate the EBOVG intrroretntiono Of trio
nonharmonic device and the termo a;ilicd to it into DT“CLUfl i<finipions

for nedaéoqical DurDObe results in chnon. “it: W*I one mutt select

‘ . ‘ I - l‘ I‘,y l 3 ‘ n. ‘L' o t ‘ ‘ A' I. ‘ z- o ,‘ . . ‘ -: L
arbitrarily a niio anu ur.in.t ion ior anon iUVLTV, or aeterminc a an-o~

V

ro‘fi Y)‘ .‘ W in? 5 ‘ ~ —: ‘1‘: " ‘ ‘\1 ‘. V A.,—— ,. ,. ‘v , ,‘w
uQLC L€LmlniLOhJ aJu lefiniUion on Law Ldalb of cult lOfllCAl ethLJ

4

of nonharmonic tone class iiication.

Several recent attempts to systematize

C‘-

he teaching of non-

‘ 7- ~ ~ : v_~y . (‘—v . » l " -W- " r! r I" - I p ‘r‘ -« -~i ' H. ,- »- h .
harmonic tOUBt) gave eiLgl lLf. “re eholandoion oi ,goeinQ toneo and

upon an approach-deoarture analysis is r'iven b“ TcVooe (lb), Reed (25},
and @ttnnn (20). ”cfiose gives a very detai lcl CXfilnnngicq o? the

~ , -\ ;~ - - hr ‘ 'L - . F‘: r4. . V
;~aosi.j ton> ,auoj noon the anoronzn-ieinrunre 3133 L icetion. ‘e
r 9‘. ‘ ‘ ‘1‘ . r‘ r- . - — w J. .| -‘« . ‘ V . v " y.’ N c - . .
ie-inee tje pasoinn tone ao a nonharminic tone nlLUL Lo 'Lll'l'OLdt L
_ . L _ L“, , 4. ~ ,I‘f‘ i ”'4. 1 I "Mr ,m, my... ',
1\‘..t‘=~“\‘£}n L” 1) hks‘...© 1:. : lJL)!’1~ ‘—‘ (3... xi. 4.....(‘1‘1 Tit '--J--Ll. -Il’f j’thLJJ.AA , D‘.\‘!"

Tlecei in two catccoricfi , tnc unaccentod uni the accentci, with a

melodic direction either as ccn:iinj or descendinr. Tcirc the mannrr o;

x:

 

 

r I \-" "'
Ul111lrL(,i§, "0 1/50
.3 . ‘ Ap—J
.(3 A Lin, 1). v): 0

3M3)? ach and of departure as the primary basis of class i'fabikh, a
single term and definition nay Le ayplicl to both unaccented and
accented forms of this device.

The neighboring tone, second in orfltr Cf nonharmonfc grit...
to the passinr tone, ;3 explainei by Kclose as a nonharncnic tone
approachei by stey ani ieft by step in the Ojgocite iirection.l ine
same basis for ciessification is use» as For the massing tone, which
inclufies the lower neichborin; tone and the Ujfivr no "‘io in ng ton«.

ic novcdvnts xn (var?

The approach and lepalture are stepvice nrlc
case, with no exe€ tions. ?he neighboring tone may be accentefi or
unaccented.

(2b) and Ottman (20) give a similar iiirLrtion of his
device in very concise form, sumreri7 ei with the follow: -nd illustrations:

Example 29.

Passing Tone Vein nborinc Tone
unaccentcd upper

   

Passing Tone “e
accented

   

The ajnroac} and departure in every case are stenxisu, c0“f rming to the

basis if “inssiiication wrescntua for thiJ device.

 

I 113., p. 13]..

PU

((

u
‘ ‘VI 7 . u .' ‘. I. z - , a. - .. » . -, H -_ ' ~. ,— ,..A V ~;~ ,1 . .\
no moon the passing tone anl tar nv_ghh0Fle tone thus is a Mattel of

iir ection of res olition.

(h
FV
:u.’
\ \
(’\

Piston aefines passing tones as ”tones which fill the
between two iifferent harmonic tones not necessarily membe‘s of the
same chorJ. This in terval will be either a third, a fourth, or a
second and may be bridged diatonically or chromatioally, or 2y a conti-
nation of both, as long as the melodic nrogression contains no skip.”1
Piston disaqrees with TcTose and others in regari to the clatw ificrtion
of the a CUWlTC for: c” this fievice. "Although the passing tone may
occur on the heat, or simultaneously with a change of ”arnonr, it is
inaccurate to speak of an 'accentvfl passing tone'. All nasring tones
are unaooentcd un1,ss they are nnrnosoly civen an artificial ac:(.nt.

The so-called 'acccntod passing tone' is more correctly claseificd as

LIL
(D

In accordance with the aporoach- y>a rture orinoihle of classi-
fication,a device approachel by step and left by step in the same
direction is the same ieviee whether it occurs in an unstressed or a
stressed position in the me sure. ,01s1st ncy of classification thus
allows the passing tone to he regarfled as accented or unaccented. Fhe
same reasoning applies to the «evice amoroaohed by step and left by
step in the opposite direction. The neighboring tone consequently may
be regarded also as an accented or inac .Cented form of thi 18 basic device.
The author succes s that the confusion founfl in the various

textbooks examined may be eliminated hy the use of a loticai "yston of

classification a.nd a consistent lofinition of thw terms applied to

1Ialtcr Piston, Trincinles of forwo nic Analfisis (Roston: f. s.
a. o " o T" 1-.
schirmer usic _o., 1:33;, 5. J0

 

2Ebid.

 

 

l'i'lni'lllllll.‘llllllll

33
~ ‘ 0 ,V ‘ ~11 ‘ L" ' .' ,H, , ’ ,., , ‘v , , .' v, t_
n(3n}~15.‘rm.3nl(; QEVng-xf, . J AM). pl‘OulC‘m Of tCI'ml'l 01.05.17 may Ln” ‘I‘Grltijj u l. ‘. =_ .1."

fied for nele; xicnl nrosentstion by making the definitions consistent

and concise.

6. Annroached by Step and Left by Skin.

 

Example 30.

f; ‘2! ,i {if\

 

Czl 17]: DZ 31’. I

This nonharmonic pattern derives from a type of ornamentation
in early nolyphony which evolved as an exception to the principle that
dissonances must resolve stepwise to the tone of resolution. The
dissonant tone usually may be regarded as a tone of the followini chord,
heard prematurely on an unstressed part of the proceeding beat. it
functions rhythmically as an anticination of the next chord, but one
which resolves in another voice by substitution. The resolution of the
momentary dissonance often results from a skin of a third in a direction
opposite to that of the angroach. Telodically, the dissonant tone func—
tions rhythmically as an anticipation of the next chord, but one which
resolves in another voice by substitution. The resolution of the memen-
tary dissonance often results from a skip of a third in a direction
opoosite to that of the approach. fielodically, the dissonant tone

functions as an embellishment of the two tones which form the approach

and departure.

Ch

Iiarmonic atialn.'is of the first chorl gives the nonharmonic tone
the appearance of an unresolved iiss onance. Wowever, the unstressed
position of thed iss onance in the measure anl the immediate 8))C8T8 nee
of the tone of resolution in the following harmony give the aural effect
of a direct resolution. one tecorists regs rd this pattern as a form
of anticipation, denenling unon their interpretation and infinition of
the device.

This device is known most frequently as an £32323 £332? or

usine the Fr nch tern an echannee. ?rout (22) calls this device a
\) ., t“;--

changing tone.l Torte f7) apolies the term suhmetrical auxil ia ry tone

 

 

,-‘

I

to this same device.“ lhis deviee is classified as a free auxiliary‘

hv I Mv-I orsakov (25), and as a free anticipationl by Cutter.

U U

 

Cutter considers the free anticiea tion and the free tone to be closely
related, the ristin<tion being in the harmonic relationship between the

dissonant tone and the chord of resolution. We defines the term free

 

anticipation as ”a free tone quitted by a ship, which belongs to the

”S

 

follovvin“ chord. Cutter defines a free tone as a nonharmonic tone

 

 

I

"Quitted by a skip, up or down, and not a member of the following chord.”O

rd

he term escape tone is suggested for this device on the basis

 

 

lProut, p. 11h.

2T‘orte, n. 330.

3lims‘I'V--or«arov n. 95.

1LPenjamin Cutter, Harmonic ‘Inal"sis (Weston: Oliver Zitson

Co., 1902), p. 2h

 

SIDi'i, I). 31.

61bid.

 

’l
U

of its general aeeejtanee in current

ency of its application to this leviee.

enproachei unward by step and resolves

of a third, being an e Lellis

melodic line. The esea 0 ton , aowcars on

of a beat, is heard after the chori is

chord or in the next chord. T?

. «~1AJ_ ’ ‘1', , “’Lt‘fi
founa 1n (innueenon an} ninctei

rare exception to thG'ilfi
Cadence,” in vhi

(- , V " -' '
celled ‘sa.d.n1

between the seventh (leaiing tone) and the oetave.

V1

named after :
manv fourtee-nth ani

Example 31.

Ilsaqe

Elie
d ovrnwar ll
hnent of a <lese
an nnstre
scnviiC‘E,
1c invers ion of thr:
-. nttu‘y harmony.
H.8F1 resolution of tiis

h the sixth scale mi egree is

‘anees co Lan dini (1325-13 97),

fifteenth—centurv comnosers see
J -

ani the historical consist-
escape tone patt ,rn is

by skip, often a skip

rnii nx scsle step in the

ssed beat or fraction

r -‘ M r— pA ‘ : ~ var \
(oi: I_es<ilvsi. irl tin" s gnu

esoa 1e tone seliom is

Kohs (13) notes a

invice in the

oattern is

&

This

and is found in the works of

Exansle 31).

 

Norris (19) illustrates the same Landini

Jadenoe pattern and

states the dissonant tone may be analyzed either as a oassing note or
as an apnogqiatura. He suggests that the nrooer term for this Inversion

2

of the escane tone is was in; note, 1hieh ' in direct contradiction
with his own iei finition of he passi tone, 3 tone ”foreign to the

harmony,

to t.e harmony.”3

passing fliatonically or chromatioally

The terminology

1 r~ ‘avr‘ \ ‘, A J- ,‘r. ‘ .
.stuetn otd r nOch rc—

and the analysis jiVCH by

 

$6
Norris for the invcrtel escape tone is hifihly irrrwular as Yfll as
inconsistent.

Piston defines the échappée specifically, and in accordance
with the approach—departure classification. He then provides for the
inclusion of variations in the use of this device. "The echapoee
leaves a note by step and then proceeds by a skin of a third in the
opposite iirection. The first note may be a harmony note or a non—
harmonic tone, such as a suspension or an aoooggiatura. The note
following is usually a harmony note, but may be an aooodciatura or a
canbiata. Larger skips than a third may he found, often the result of
the interpolation of an anangiatura."l

The escape tone some imes is use“ as part of a pattern involv-
ing more than one iissonant tone, and as such becomes one of the
combined nonharmonic devices to be discussed subsequently. The term

escape tone is reserved for the single nonharmonic oattern containing

 

I

only one dissonant tone. The escape tone is defined in the afiiroach—
departure classification as a nonharmonic tone approached by step ani

resolved by a skip, usually a third, in the Opposite direction.

7. Aooroached bv Skin and Left b Prolonsation.
Lt i ‘ ~J_

 

Example 32.

AA 4

 

Czlb III I21 I

lWalter Piston, Principles of Iarmonic Analysis (Toston: J. T.
\f

Schirmer Iusic Co., 1933), No 33-

 

 

t 1" I. I ‘l i. .F I l i 1 I i I! i i .I} ii I l! 11....

S7

Fhis nonharmonic tone pattern occurs infrequently, and is not
given a distinguishing name as an independent ievice by most theorists.
The resolution by prolonjation relates this device closely to the
anticipation when the dissonant tone occurs on an unaccented part of
the measure or beat. It may with some justification be considered an
irregular form of the anticipation (see device number four, page 71).
Sessions (30) illustrates this device and designates it an anticipation
(see Example 33).1

Example 33.

 

C11 11'. 12 I

Emery (5) names a nonharmonic tone approached by skip a
skip-note, which he defines as "a variety of passing note to which,
but not from which, a voice may skip. It differs from the appoggia—
tura in comming after the chord, or accent, while the appoggiatura

comes on the chord or accent.”2

Although this definition seems to be
specific, no distinction is made between a dissonant tone resolved by
prolongation and one resolved by step. The icfinition is incomnlete

in this respect, leavin: further opportunity for misinterpretation.

Hindemith (10) also regards this device as a form of antici-

pation, using the weak metric position of the dissonant tone and its

 

nrx

so
resolution by prolonfiation as tne basis of his classification.‘ .3(
din?“ -n r\ 1' #11 'n ‘n """1 o" """“‘rll ”“ > "' ~r 1 " ‘7‘
v~_Ao—.A. J. tzI ‘- -1\’€ ~n LILAC mC‘tl AUC r 04L 8A.“; ‘I‘Ok‘lb‘ 1“) rt- ‘I'."L“ *l\"‘ (i‘) a ‘e‘ ‘C0n~1';ru' 4. (L‘_‘ UL‘.‘
'Y . - yr- . 'T‘ y' '\ h - ’6’. ."‘ '. ‘ p ‘3 . v- - r' J— , ‘I f— I ~ - r
by ;lnd€mltho ihe common charactclistics oi thr ts gasteins are usri

to justify placing both devices in the same category.

The terms passing tone and anOfigiatura, uncn applied to this

 

 

device, are defined in so many diff rent ways as to icfy Claddlfliatiofl.
A broad interpretation of these two terms is used by some theorists to
encompass infrequently used nonharmonic devices such as those illus-
traded in Examples 32 and 33, but this practice precludes a precise
definition of terminology. With a similar degree of inexactness, the

terms unprepared dissonance and unprepared suspension sometimes are

 

 

used for the accentei form of this device, the resolution of the iisso—
nant tone by prolonmation being regarded as irregular.

Jishart greatly simplifies he classification of HJNhOTflOQlC
devices by placinfi them in two general ”families” or categories, :1;
the ‘family of achéxiaturas and changing notes”, ani (2) the ”family
2

of suspensions." This device appears to be incluied in his second

category, but without a specific name given to the device. To solve

the problem of nomenclature ani definition of nonharmonic tones, gishart

dismisses the matter with his statement that "The ear is the sole iuire
.J _ 3

and hit or miss methods are by far the best way of learning to m ster

them."3

CF
’0
t?
{:4
:3
m
LA
0"
O
H:
d
CT
H
m
pJ
0
<1
r—1
0
I)
F J
.3

Two limitations in the musical u‘,

 

lHindemith, p. no.

ZPeter Uishart, Harmony; a Study;of the Fractice of the treat
Vasters (London: Hutchinson's University Sibrary, lQTK}, o. 117.

Jiliii.

“-—

eighteenth- and nineteenth—crntury styles result from both the approach
by skip ani the departure by prolongation. A iissonant tone which is
anoroached by skip is a stronrer and less conventional use of dissonanc;
in this period than one which is anproachcd by step or by prolongation.

When a dissonant tone is reacnefl by skin, traditional usage inflicutes
that a resolution by steé is more acccvtablc to the ear.

The close relationship of this device to the anticipation and
its infrequent occurrence in traditional harmonic styles do not justify

its having a special term. It will be rigarled here as an irregular

and little used for“ of the anticipation.

C‘

8. Approached by kip and Left by Stgg.

 

y.)

Example

 

C: I I I If Y I

A greater variety of terms is applici to this device than to
any other of the basic nonharmonic aevices. The following tsrns are

among the more frequently encountered names for this device, both when

the dissonant tone is accented and when it is unaccented.

l. appOQfiiatura 5. changing tone
2. unprepared susycnsion 6. cantiata
3. indirect suspension 7. neighboring tone

h. free suspension 8. paSsing tone

Elie aijrwbctMLOYl Ui‘ a t.

‘ .+ ~..~,.‘-A‘
is not raga.cec u

textboors examinefi. Ehe

that of the

‘1 r \ N r j 14- r“!' v ' . n - -. V. : ' -. " ~- '- 0‘ ~ 4'

in an unstr<sse l .nn a stressrl ‘Ut'l-.l .osition in the sz sniw.
\ :, ‘ r‘ r V‘V 4,- ’-r~y ~ ‘1“ ‘1 - r f, ‘ ‘ e r r ~15,‘ 4 ‘a ,.\

theorists agjly wh sane ttrm to soon the a,;r*t.l ai: tin un a

p " . " 1‘ - W. a. A i ‘ 1- ‘, . ‘ :I ‘u x ' “ " r r. ' .' /_,

norms this JUV4pGo btn r txnorist. “1 fr“ t‘c LCrmo «Jpn f

or susnension for the

 

cambiata, n i'nnorilv tone,

 

n

th Va

L

rifity of delinf

I"

dif ficul-ty of establishing a

1L

"IL
.8.)

confl tine us e of ter

is made to classify

the definitions are so broad

The Meaning

the :lefinition must

the above terms have been

one, an organized

equivocal uLe of terminology. The ambiguous use of ter' an
be tie greatest source of confusion in thv explan’,ion of th
cu ar drvice, even tncujh the lavicc may be iientif ed was,l
sugcific nonlarmonic nattcrn.

L»; i C h

gives the term

V
J.

maki

“‘r '17“ '1'
JA1C&.:§).L

'l(.1‘
Dd;

{irecti

and
t
consensus
is most cviient
nonharrr: oni c
as
of any term
have relevance to the cl a
apnl

system of cla

broad inttrgrrtrtion
1; no distin< tion lctveen an anlroacn by sten or

n3 notes

90

.p ‘n th‘ ¢:.v~nvn-. :+.\n
( Ll lJb -(‘V 11..'\.’K‘.‘\7.;A‘: ‘ EA LAA(‘:‘

t dif5crentiatinfi factor in

an of

T‘t"

J

“‘1' ‘
l9

‘ -

.rrnu 41“". r
8):“, Uzi, -o ..;.;){)()rlr”.wit tO'W

L11)

OCR]

- " .‘
OF I‘w

.7,»
.L\’

§

" '(‘711/‘1

J

D
‘II‘.
H; “Y ,.
-- J.‘-\

 

+ .
oLIY.b

\.

 

——

 

ions given the above terms

CO

.., L.
bVLu

1/

where no

tones in some logi

be established

must

ssif.1<:ation.

ied to devices other than t?

1

ssentia a

J.

( (‘
g) L).

.fication

tt

‘I‘IL‘.

5" ‘. “a “L r-
chang-ng HOD: for

 

"" ' I. V. II .V‘ "
uni,h incluxt

Dr‘
Q

 

harmonv thigh either
v)
o annogriatura at “

51
A

 

tne

to include divergent nonharn

is

1871'” 7"" tor” ,

‘rr—

"VI

..1

1-;(H. l: n- t;:; ‘r 1 l -,,-..-
1‘. ,‘C‘I‘ ) Ln ‘ pl ”1 ' ’1‘.) (J; .--"‘ o

cal manner,

for the una:CC1ted

form.

ounls the

uni

bV defini t

r‘.

*.A

or where

o
A
V

C
'Z'YWIVJ ‘
.J's. J .L\"

ion,

ani

1- » 1“ p
\ E“ (~.Ll OA-

narticular

to avni

‘- a. 'u . : ,. -‘
this de_pC,

a 7‘1

but

0 the
{iclJH

 

r . J. ‘.-. \ i, . -. . .. 3 4

. . . arc t can tonne iOICLUn t
' r1‘ N? z. '1‘, ‘1' 1' m4' \ -‘ (‘-

ch);(cflfi in tin; cn41.l-.tr (1L a .:.c
‘ 1~ " 'I r ‘ ‘ 1 f: ’.
t ie 0. ~nt1aace the flu; :

. 1 M
\ Ul.kl\4

\ ' u ~ ~
,‘riyfi. \‘. \y\ ¢ - ' -7 7, 'i‘.V" _.- ,, .-.‘ .n” - J ‘ — ,- . v, , ". . s -
.1 a L": ..».": L«~). .. \--.‘ _A 1 -s- A 1' q. k‘ '. - ..C ‘. '1' , .. t .
t ‘“ 1 ‘ “ ‘ . ' ."' ‘ 5
~ '1 w ) ?' r r '1 . r —. -" '12'11 '1 1 < 7‘ 11 -. r ‘1 v” ’. ~-' A '1 1' -’ ‘ '-
. ,. ,u€._vi Ll VJ a J - .RL-.L-..._..‘-. :1-)\I( s... , K); , f. ; K."|. t .‘r . .(lii‘fi .L K _ u...

_.. ,.. . , 1, . .,I . .,, o. x
c shift-t nx’u‘.;n ‘1 ‘Lu'l CUC l .7141;va 1114231 tail 11, “Hindi? Ill. tu'f ( L\"
V .1. ‘ 4‘. — I? .‘

’J\~)qulltclq\l Oa LILJU LLI<n( 71K.‘+‘ filo.

"1 ,.1 a O" » V“ \ ‘v 1» w, :. . ,.‘r:, -. 1

Vin: ohaniuuh. iote C ui th€1e1(n<; a;-u.n“ in CCi..,, it
Q 1 O I. ‘ A 4 O 1 WA
13thow1eve1 re JOine; CLOSFLLJ to the harmonic note.‘

(A.
kd-
r’\

51v " ’1 ‘ ' " ‘*r \V."\ . ' N " 11 D a . - -"1-*-~ r
:hter aneigeee tne manna] Uni: tone- Ln tie JOllOLLH; BthwlP c

Chanfing notes.

 

‘fi" wi‘fi 1L
Una. "JLe JJ'O

 

‘ ' R r, '0 ‘A: ‘. ‘ A. . -. I- (.v‘ ~ *-'v‘ . “1‘ t ‘ - '4. ~ ‘ 4-»
Alonin (l, Zullb t;»n va1oa un «1~o ,-~uire iviinin, iv

 

precisely as a "bytono taken by lea) eni r ~ol 7.“ 1 bv otep.” Turwry
(17) uses the same term and definition, lenoribinm the device as a
nonharnonie tone ”Cnt€1ei by ';:ip eni FMQOlVVi gtcsnige.”/ If the
device is VCrv Lrief, he notes, thC L‘flfl ioviou then is gelled an

ace: aooatu ra

 

flees?r (3i) uses the term apgorjiatura for this devieg, defin-

ing it as "an unprepared neighboring tone." He thus uali-L—~ hit

previous definition of a neighboring tone by new permittinr

()

Q)

:3
n
l

boring tone to be reached by a skip. The iiotination betnECH a nei

-. ’v v‘ I‘lc'.‘ " I ’ r‘ o —~ "- ‘ ‘ *": _~ . x . ‘nr 1' t ‘
horin; tone ani an nino;_-utu“d trCCLCS OLQCUIC a +h thi lfitfrglv , <n.

\J

 

 

-M-an h-.——_¢—_<

1.. .
“gurnhy, p. 170.

L“

Tweedy, u. 170.

 

lullllllvillllllllviiil'lll‘ ll!" ‘JII i

I“ L' I _ J. . "‘ g _ t l J- 1 J. , ..__ _ ”a .4- ‘ ’0 ,
A‘ 1‘f“ .‘ : ‘ r ..: ‘13,, I! ‘p ‘r‘ ‘ "-'\.’ .. ,,. "'.,. ‘7. ‘5‘
10*.tk)v~§l‘.1~ n‘ U11 Ll‘r. ‘4‘ .4-- ._ K. , " U.‘F,,L) J:-‘- 4“. ‘ K) I-‘.'\ \J LA '_\ ,-s) t‘tn

 

.‘ .-- :14 .' 14 ‘... ' 1.1 ,, ,. .-
IITEY‘I‘P'JCI‘CL}. *1“-"I.1 “CI .LI’1""1(.5;.‘? - H .i‘.) tii‘ n 171t‘_.’1‘.1)0.1.11t' ’91, a nOtdtiO". t0
A n I .1 -

 

n

‘v I -. 1 n .‘ ~ 0 \ I. \v ', . " '\ l. r0 “" ' \ 7" ‘ 1‘, ' : V7" I, ‘.
EAildLn filo use oi h; thlm Htlfflbhrinb'nObC Lo: more than one 1g.1.».

 

The dioiino*‘o1 is puruly theoretical 911 he: no
pract ic:al val ue. As otatvd cprvviously; (very ifihaimonio
("t

tone is a Toir‘obor, uo matter whet sfleciiic name
auoune. Ihc otuignt io thervfore aiviocd to
generic torn ”Keijhboring—notc” for the AopOg

and also for the unpreparej Quagonuion.
Piston gives a more inclusive definition of the term apcgvria—
tura which includes the a oroaoh bv 84in bv stew or by reuetiticn.
’ L. < , u L, ) 1

‘ ~ ~r~~.f r' [—‘I‘ .'Y r~"~, ‘~- 1:: ,v r ‘ . .
The apoowbidturd kitalldJ aiooafiiurr, to loud) lo

distdjihiishcmllj? its 1“”"t::1_‘ ptrcgns, or 2&1Loiio rx_iint. .-t
atpears on the beat, moot cffc tiVFm" with 3 Chi?"0 0‘ Hz? 017.

 

U ,‘ (I
’ (*wv "' . .~ ' ' V" ‘4 '\ -"- ‘ " ‘.’ ’ o r] ‘ '> - -‘ ‘ vr
-t mu; enter by 511;, ite), 01 1<¢1tit1on, ifi- romuixeo {J
‘-L "v V >‘ ‘ 'L "‘ p ‘1 " ‘v ’ ‘ 7‘ -» 1'» ,— ,7 .11 '"wr
bot) uo or 1oxn, to a HCU' oi Au Cior . ihv au1orv-atu1a

—— ~ ‘ v ‘ v- \ *. “ I ‘* 11 - y '5‘\ I ~._'. ‘1‘ ‘ ‘ ‘ -‘\-.
unter1or o, FCELtithfl thle wat to 001_1o«1 ;1t. t?r “:1-
D -

79“: on. The listi"otion is of j““8t in ortnnoo as t.
int I_rrtatiouu are LICLY 1i1f(rtnt in rt'tim an; at

7' w . o v 4- ' ‘1‘: I r ‘: ‘v r< . - 1 r.1‘ . "v
uuil states Siger ttat an aowo‘;1atur¢ in ”an nonvnt . pu;31nf-

i- vv

L " p. r\v* .r1- ~. - "- o . ~ r‘ 1 1-,: 5. "i". ' " ’L'HI‘
note." ge aeiiueo Wacolig ton(t in an equally oroui fluouion no quote

[J
H) 4-1 w - ' :.v/'4I n - a r\.\
UJUJ chOL.Jnh, a {Ht-iloe

”which do not form any part of the chord,
iofinition of tsrminology.

Foote and Spalding (6) use the term appOfJiatura to incluio

 

bott a step and a skip to th edissonant tone, defining the to m as
"a tone foreign to the chord with 'hioh it occurs, and entercj 1y stop

or by leao

 

11

:oettchiuu, 9. Lou.

22bid.

 

3" I‘d TN. ~J- fiflfl‘fi q x (‘ ‘ '7r yv, : ' 1" .‘. ---'-1 /T‘,- 4L; a
clalttll $ 1.; UCIn’ - . Pm Ii 1 ‘\0 OJ— ,qu" rLOfl,‘.L‘r 1‘, ‘1:;‘,"r‘) ‘Ltl '\ Os. U‘V‘f]: ‘J O

" ° 1 r. : w n ‘ .
oohirmer ,uoic ,o., 17);), o. ;

 

)5 ,1
‘4. T111]. , D O of.) 0

~

6foote and Ioaliing, o. 219.

r.“
’ I
/ J
‘ \ 'V ‘V \‘ fix ’fi ' ‘_ . ‘ ' 1 r ‘ * '
,. _. _ .g , -.1 V ~ ‘1 A \ a- . g .. t:
a s n- ~v ‘ 0
'* ,‘x‘ ~ ‘ x '+ ' ‘( 'f‘ L“-“ ’r fi“‘ ’ I J‘~I \a ‘ - ‘ -
lv‘.’ Vpr‘f’ n {\‘110-1L; It A. JVTA i t'iijy.» " L v xt” L.‘ 3.1.. .U L: ' O ' ”if. ., A1 .}“A -.‘_ "
u .
r\ -: 7'“: j 3‘ 'L r v r (N ‘ . (v 4' ' ' 4 v .“ vfi‘ n |\ f} ‘ t. \’~‘ tr ,“s Or“ ‘ ‘- ):_r‘ “ ,‘v,v'\: f. 0r! .N‘r" in v~
QL:.KJ..LE1.'. U) ,)(Lun3ln,‘ “CHM -n (in! . ,1... has.“ .. '1 VC‘. 1 L .4.-t:- LIL/.54... &'A ..-.- \,""
u . o u o
' "l 17 < h.‘ l ‘ ' ; t " ,- ‘ w‘r‘. 4‘ -"" -.-‘ 6 \fi’ T I\ ~L‘fi I‘ J- o-x ‘ .,t\ ‘4 ,‘
3&th. (.3 (v.1, i) in a .111}-Mv:<i~n."1., '- .‘. IL~}--tt'.vl ‘1 Until; it" ‘O‘Y’lc 1: do

re
{1

(J
(+—
}_J.

on in two ways.

1. I; heut praflaratiou by the thviouu huge 1%
the same voice.

2. aith preparation by the pr<vi01o note in th:
La...€ vc‘i".€.

T ‘ t“ v “ ,J ‘ "* V ‘x (‘ ' ' I o v o r 1 n r‘ ‘7‘
in the oeton: cage the ‘Tj‘aTCI a11o‘,1et1:c can .6
. ‘ A "V‘ r 4 V‘ -¢ 9 r‘ \V.« « .v . , '1‘ A .1 \‘y’\" r - 1 r >.
thJ thuu cieutiu, a onojfnoiofl. 14 a {roetntie H9 at
Y1". '\ , ~_ '- w“. T‘f'l 1.: 'l " ‘(Z‘ ‘ ’, ‘ j. ‘ v " w r_ m(; :1 (1.7 t}\ , rfofi r L1 V1»
...Lu.l( r U‘L‘, Mk In‘ n.)LLs)"‘ nb..U.i (4L1 .. , irvxfl .AC, 8. ) )C) .L(«‘V C.
. «’v n ' \nr 7- a ‘ 1 J‘- ' ,‘ I ‘ -\ . ‘
hainxia bacui giggiuxc i, o: tiext Tflf. ziut‘war fccdii t1a #1 the
n" ‘1:' ‘r ‘ V ‘7 'x ‘ "' A" . " " f‘ vv'. ‘u ’I - ‘
11111t jgrvot,uzs;11 1.,r: o If ct, eu1? t 1e‘t th t.11v o: ‘tc( 1 ts:
L ' L‘. , ( - . m1. . n o
L, t? AC? 1": :11 t- ‘ (l: .11 k)! n‘~‘(-., at») V;Z(:I13U‘1‘OA_LLL(

\

er“ he mor otteu tri 1 not vhctlcr tKr

H.
U;

 

fi‘,,

.. - .1 ‘ n. .1 :fl .. ..: - ' 11 .n _ .. .
1.1',3;‘le ”Unf-Lu “:2 1173143.} .1 (kw-~11, :11.) tit ”v-1tI"C_‘_C]"° 8.717;" '1‘ '-

q
. “ -» ,- .L ~ ~ 1 ,. -1 , n. ..:~ 1..
e2r61 ap,o "iw? 1r211e a oxeiu oion.‘) ~o compounu the coniie on -d

1-:(.
..

.hk)

become a “1 oenrion by allo in; it to continue as an appoezi:tu1a.‘“

The

\ p ‘ ~1: v-w-qr ri“~ flv -\ ‘ 1/ ‘ ‘- \t* I q .. u , re
uee oi t<rm1hol 9, ,heOpiw conciutor tht ”a Dubbing note 3.“

cy Lamw1l ‘ cited by Jhagple provide no clarification of his terrifi-

olocy and fiefiditions, but in icate a jeneral OV(Ila hid? of the three

ter:

fica

for.

no he a>rli 1€s to th’s dnvice. She el:ence of an" ovstumatie Ciajpi-
tion io refiectei in the disor'3ahizgd uce of terms and in h‘
ulation of definitions.

Frequently the meanin: of inaiequately definei terms may be

r!

A
~

deduced from riveh ex mflee if the exaun lea Show consistency 01 use.

 

Chaoole, p. 53.

 

a! ll 1 I 5' III! I {I 1| I I I'll I‘ll I l .I'II I!"

1
9:3.
fihen the exanfiles thfiflfi;fl"g :ontraiiet the xiv n diiiniticn: in text-

:ni CKfLQIlC

1’).
0

books, the instructional process is *reatly hin?«re

Practical Harmony, Part II, by Torris (l9) illustratrs this oarticnlar

 

kind of confision. Morris defines a oassinc tone as a tone "fortiin
to the harmony, passing iiatonically or chromatically between other
notes belonging to the harmony.” In the same chapter, Vorris wives the
following musical examwles, identifying the tones marked ”X" as

q .‘ . "2

pass1ng notes.

Example 36.

 

In a footnote to these examples, Norris states, “X may be
analyzed either as passing notes, or as apooggiaturas."3 Ieithcr the
example nor the analysis correlates with the definitions he gives for

the terms passing tone and apporkiatura. "The appoqgiatura, like the

,-' kJ

 

1

suspension, is a note which momentarily occupies the niece of the note
to which it eventua ly moves. It is usually a note foreign to the
harmony, and oriinarily comes on an atcented part of the measure, re-

solvine either up or down.”h

 

lIIorris, p. lOE.

2Ibid., ix. 1&1, p. 197.
3Ihid., p. 107.
hibid., p. 99.

T 7‘. :-L - f‘ :~ 1; v 1 ~ #. ~r-~.<r~$-\ ' r a. ' "f A v '1. ' . - cj"' r , .
-n 5 .‘.p6 0L 'iu ‘.‘.1 1 o') I”. 3 ', L - -., T T L - ., I" 'v. ‘1‘ . in n(.'.‘:1_2*1‘..'1 ’1'. -7-
. . ‘ . _ l1
1::1‘7'3/‘(1'1 M67117 .f‘ L," ‘ ‘.‘ " L ““’J‘.3‘ /“\.'\"" ."' ‘1‘? '1‘“ V‘ 3 ”"1 ": '”I" '2‘ t’”"-’ "‘" "“"‘
, ..L(‘.$.VI O; L.I.LQ O.- ' i U ..llx. \a 4.5L.) L I 'v ~. . ~L41-’ A. J. ._.-. do]. . _..' .;u’ '- '-'-
, . t .-

-: 1, - 1- 4. av -‘ .1 ..-., ",2... M 1 ,.. 1-.
cl wed rec<ntly ov Wish.-t, Lfldt e. W(ral hit or loss inthols are the

best approach to learning nonitrnonic devicp: (see page 33). .FTCHC
theory books ;.L.>it a tr 1tvr conrxrn for :::<:t‘;1oiol.oj;,' an} a s:.r:.~‘tr::71-
ati: structuring of content for classroom in traction, with a slijht
treni toward a more uniform use of terminology.

The IOCTc of anv system of classification IG£H that e33h
device in general use be given a syscific name, ani that the same torn
should not he us e! for two or more different ievices in the classifi-

n ' ‘1 J- »- yn fi~ '\ -v —' a ‘. C‘ ‘ .-¢-v ~:' r ‘ 1' r~ -‘- ‘ . “yr-u" -
cation. 1he term apsoagiatura is bU3WCutCl as tae MOSU suitaole tir.

 

for a iissonant tone apwroached by skip an} left by step. Aeccnt
usafie inlicates this term is nor wificlv acce tel for thizs leviec tHan
any other term.

initions used for the torn anwowéintur

’3
t"

The variety of it

 

attr ts to the need for a specific infinition for each term if non-

harmoni c tone terninelory is to be M(anin~Lzl in thccr;r ithruction.
The Jefiuition sufeestel by the author is hasci noon the ainroach—
departure classification, and state} in a manner to avoii more than

one meaning for the term. Ch<z annogqiatura is lefinei as a nonharmonic
tone aoproachedl 3y ski) ani resolved by step in the enjosite iirection,
with the di1.sona nt tone. a>\<ar1n in an accented metrical QOsition.
The rhythmic qualification is based upon frequency of use in harnon c
practice.

By following a consistent system of iefinition, usini t1e

melodic characteristics of each device as the primary basis of clas ;.i—

fication, a device regains esscn nti allr the same pattern whether the

 

 

 

iul.lllll-Ill.ll.

96

dissonant tone is accented or nnacccnted. In actual use a icvice may
occur only as accented dissonance, as in the case of the susvrnsion;
it may occur only as unacccntcfi dissonance, as in the case of tne
anticipation, or it may occur either as accentcfi or unac3(ntci disso-
nance, as in the case of the passinq tone.

The more systematic nrrscntati ns of nonharmonic tones given
by Kchose (l3), Heed (2h), Gttman (20) ani Kohs (13), waile thrv differ

in a number of respect“, are in agreement with .is intororctation of

03
.3
)1

the term anp03giatura. They jive the samt icfinition of the torn

 

define the nonharmonic tone as an accentcd dissonance. Tqually signi—

ficant is the fact the the term annoggiatnra is reserved only for ‘his

 

particular device as defined, avoiding multiple meanings of the tern.

9. approached by Skip and Left by Skip.

 

Example 37.

 

C:I IE “I I

The nonharmonic tonc encompassed in this device is use} infre-
quently in eighteenth- and nineteenth—centiry harmonic nracticc. no
a nonharmonic tone, by definition it must be dissonant to at least one
of the chords with which it annears. Ehe cfiect of its rcsolutinn cv
skip is that of an unresolved dissonance. In thc sane way, an a; roach

by skin is not characteristic 0

 

 

 

 

 

 

xxatlier‘ teniiL3 ta) fiivc= tzzi.. 3-‘v '3» Inoxwo ‘naiflniviiix c,i "17" wrnrx .

This device has horn varionsl; referred to as a >nssinr tune,
a garliar"', nennvficorirrj tone, rniangixrj tens , ar11_fretcru . LEV t 1“:
free tone is more commonly in use in a fCUI recer t harmony hock; and
is suggested .s the most suitable choice of terminology. All of the
other terms appliei to this device are usel witI mnlti nle neaninrs,
ani therefore of lim'ted use: ulness to iientify this particular ievio).

me of the various alternate nanvs originated through the inclusion of
. atytrirris iri Titix3'l tile 'nnT-o ‘ic: l_irie algifxwe;7 ta: en)? fi‘ex1 tr en;?1;1‘ CYUJI'E
ton". .eccnt yrs ti 7 o' cl.ss"fing only iFs$3o1vnt )nq; as "non-
harmonis” tonr‘ rurlrv‘ oh:o ;s( kone of the definitions ‘ivcn alt¢r~
{it/3 be "TLS

Tun: LL-orists do not incluio this lavinv in their wnnn ration
o” Th5?tél“lCfllfJ.iCVl.2'b luv:an.m‘ of tkv~ infi wiwenrH' of iii) occ nun" e
iii Ci;flitterfi;i- an treantlr— «wituln' HI‘ ongr. fuéed «(Zhj ill L=tlf‘b€t
the free tone as on: of eight basic d vices, but jUsz no -nr“ r

.

attention to it in his discussion of n Incincnic Cor nos.L ficfios_ {1.)
disregarit this fievice because it is founl rarely in the rnsic of iaa .
Some theorists iniire:tly relate this levies to an dqfllv ale? susten—
«ion, or to an a»)0”3iatnne. A skin to the iissonant :o.c reviles
the appearance of a "free " tonr, but it nest cases the iisscnrire the;
resolves stenwisc. A iissonrio tone nay be approachal by abip, or iii:
tj' sizin, lwrt l'tLy’laotii. iln Inirt;iolfilnfi.'i':xn)n2nhyn- is “,07Jior1 fnnnl
'ln rin:;ic IHE‘l1."hr‘ fiat/3 nlfu t I?nt}1 arr? rvrrlg’ t“r ntluitl: “'"rtr7”( s. .?n n
a “‘rce" Lone ices occur, it more ”ten is not an actucl iss(rdn‘c. bit
a "nori tone re;m:}-:1 and left by skip, and is not to be classificn as

 

 

VR.
I 0" l‘

a nonharmonic tone.

Iatner (33) observes that iissonant tones become increasincly
innortant in music of the late nineteenth century, with accented disso~
nances and unresolved dissonance contributing to the increase of tension.
”Their importance then overshadows that of their resolutions, until
finally the resolution may be omitted entirely and the non-Cheri tone
is accepted into the chord itself."l

Limiting the classification of nonharmonic tones to those de-

ices used during the period of tonal music represented by the style of
the Bach chorales, the unresolved nonharnonic tone is so unusual as to
require no particular classification or terminology for neiajogical
purposes.

The basic nonharmonic devices examined above are those that
contain only one dissonant tone and which are identified by the inter-
val of aporoach, the interval of departure, ani the metrical position
of the dissonance in the measure. Not all patterns of usawe nossiblc
unier this tyoc of analysis are found in actual use, however. Those
patterns that satisfy the need for both tension and relaxation in a

melodic sense have been most frequently employed by composers.

ggmbined Nonharmonic Devices

 

The nine basic single—tone nonharmonic patterns discussed above
represent the total possibilities of nonharmonic sages in which only
one dissonant tone is used. Additional nonharmonic patterns are possi-
ble in combination devices. A nonharmonic ”device” is understood to
consist of a pattern of three or more tones, including an initial chorj

tone which is the tone of encroach, one or more iissonant tones, ani a

 

 

_~. A__‘“

 

lRather, p. 163.

99
tone of resolution. Three general types of combined nonharmonic

usages may be identified.

1. Patterns in u.ich two or more nonharmonic devices
occur simultaneouslv in different voices.

2. Patterns in which two or more nonharmonic devices
occur successively in the same voice.

3. Patterns in which two or more tones aooear between
the tone of auproach and the tone of resolution.

fhe first type, the combination of two or more nonharmonic tones
simultaneously, may involve the same device or different devices. Tor
example, a passing tone may be used with another passing tone, or a
passing tone may be used with a suspension. nonharmonic tones used
simultaneously in two, three, and four voices are called double, triple,
and quadruple nonharmonic tones. The occurrence of the same devic
simultaneously in four voices, the quadruple nonharmonic tone, is used
very infrequently. Honharmonic usage requires that at least one tone
of the preceding or the following chord be heari against the dissonant
tones. Jhen quadruple nonharmonic tones occur in four-part writine and
all voices move in such a way that they are consonant with each other,
a new chord results and no dissonance occurs. In regard to terminoloiy,
an entire chord rhich thus anticilates the followinc chori in all voices
is not properly called an ”anticination“ in the nonharmonic sense. Che
"anticipation’I in this case is rhythmic, the harmony oroqressing in
advance to the chord which would normally occur on the following beat.

Example 36a illustrates a single anticipation, 38b a double
anticipation, and 330 a double anticipation combined with a passing
tone in the alto voice. The choris containing nonharmonic tones in

Examples 38b and 380 may be analyzed theoretically as tonic six—four

100
chords. The continuation of the dominant in the bass cives the aural
effect of three nonharmonic tones until the expected chance of harmony
is reached on the following beat. The analysis indicated by the
harmonic rhythm allows these eXamples to be identified as nonharmonic
devices. Example 38d illustrates a rhythmic anticipation of the tonic

present.

\
L

chord, in which no dissonance is
Example 38.
(a) (b) (c) (d)

61) a

 

I

L:

(All I I I I I Y

The most frequent occurrence of the double, triple, and quadruple non—
harmonic tones is found in the use of passing tones.

The main principle guiding the use of nonharmonic tones co“—
bined simultaneously is that no usage is permissible which allows
faulty voice progressions or objectional parallel movement of voices.
Otherwise, each nonharmonic device in simultaneous combination is a
single entity and is treated as any single-tone nonharmonic device.
10 special names r found applied to devices in simultaneous combi—
nation, therefore the problem of terminolocy and iefinition does not
arise in relation to double, triple, and quairuple nonharmonic tones.
Terminology is of greater concern relative to the combination devices

which use two or more nonharmonic tones successively in the same voice.

 

1For a detailed discussion of single, double, triple, and
quadruple passing tones, see Zcflose (lb), page 105.

 

Illilili'liil.l'll

101

The second type of comhined devices, the occurrence of two or
more nonharmonic devices in succession in the same voice, may be ana—
lyzed as successive single-tone devices. No special analvsi or termi-
nology is required other than that provided by the classification
system for single-tone devices. The repetition of neighboring tones
is the most common form of this usage. Typical patterns are those in
which an upper neighboring tone is repeated (Example 39a), and those
in which upper and lower neighboring tones appear in alternation

(Example 39b).

Example 39.
(a) (b)

 

C21 1’ 1 fl"
6 3&6
The device illustrated in Example 39b has been confused by the

use of a number of terms to identify it. The terms changing note,

 

alternating tone, auxiliary tones, embellishing tones, and nota cambiata

 

 

are among those used for this device by theorists. The problem of
nomenclature is solved simply by analyzing the pattern as two consecu—
tive neighboring tones, upper and lower. This analysis places the
device in the single—tone classification and requires no additional
terminology which might confuse the analysis and description of the
device.

The third type of combined nonharmonic tone usag,, in which

two or more tones appear between the tone of approach and the tone of

102
resolution, is identified by a variety of terms and descriptions. In
reference to the approach—departure classification, these devices may
be placed in two categories.

1. Patterns in which the dissonant tones are approached
and left scalewise in the same direction.

2. Patterns in which the dissonant tones are approached
and left in Opposite directions.

The first category is a passing tone device which emplovs two
or more dissonant tones in succession between the tone of anoroach and
the tone of resolution. This pattern is found often in a melodic move-
ment from dominant to tonic, through scale degrees 5-6—7—8 (Example aOa).
Two or more dissonant tones may occur in chromatic movement between

scale degrees, providing chromatic passing tones (Example LDb).

Example hO.
(a) (b)

 

(1:1 ‘11 I I"

The second category of devices classified under type three
includes a variety of ornamental devices in which a dissonant tone moves
to another tone, either consonant or dissonant, before moving with a
change of direction to the tone of resolution. This pattern generally
is characterized by a skip of a third between two dissonant tones, Loth
of which are neighboring tones of the tone of resolution.

The earliest form of this device to be identified by a specific

name is known historically as the nota cambiata. fhe term, of Italian

 

103
origin, means literally ”exchanged note.” The device has been in use
sine the period of early polyphony, and was first associated in print

with the term cambiata, more commonly known as chanting tone, by

 

. . . l m , . . .
Johann Joseph Fux in 1725. The term has oeen in continuous use since
that time, and historically may be recognized as an appropriate term
for this device (Example bl).

Example hl.

f

  

 

Much confusion has resulted from the indiscriminate application
of the term "changing tone“ to most of the various nonharmonic devices
containing two or more dissonant tones. If the term is applied to any
device on the basis of historical usage, its use must be reservei for
the particular device shown in Example hl in order to avoid eniless
confusion of terminology. The general misapplication of this term
during the past sixty years has resulted in a seemingly insurmountable

degree of confusion among theorists. The term changing note might well

 

be added to the list of obsolete terms which have proved inadequate for
the more precise methods of analysis required in twentieth century
pedagogy.

T

he first explicit clarification of analysis and terminology

 

lJohann Joseph Tux, steps to Parnassus, Trans. and ed. by
Alfred Hann (dew York: I. H. Horton and Co., l9h3), p. 51.

 

1011
for this category of nonharmonic devices was given by 1. Owen Reed in

Basic Music.l Dr. Reed recommends that nonharmonic devices containing

 

two or more tones between the tone of apnroach and the tone of reso-
lution be analyzed as basic single-tone nonharmonic devices with orna—
mental resolutions. In referring to some of the devices labelled

changing tones by theorists, Dr. Reed states, ”An astounding lack of

 

uniformity exists in the nomenclature of these (as well as other) non-
harmonic tones. It is in the hope of bringing some order to this chaos
that the 'ornamental tone' analysis, so consistently applied to the
suspension pattern, is recommended here."2 The problem of terminology
and definition is greatly simplified by the consistent use of this
analysis for all devices in this category. All ornamental devices may
be related to the underlying single-tone device, thus requiring no
additional nonharmonic terms for identification or classification.

The following devices are analyzed by Reed as basic devices

3

with ornamental resolutions of the dissonant tone. Each example gives
the basic device first, followed by the same device with ornamental
resolution. Each ornamental tone is analyzed with the abbreviation ”0”.

Example h2- The Suspension (8) with Ornamentation.
S 50 So

2’

 

 

'\

6:11 I II I II I

 

1H. Owen Reed, Basic Music (New York: Mills Music, Inc., 193 ).

21bid., p. 58.

 

3Ibid .

 

105

Example DB. The Ueixhborine Tone (NT) with Urnanentation.

NT NT NT 0

A A gt

 

C}: .I RI If 31 :1 121

Example hh. The Passing Tone (PT) with Ornamentation.

T
,2 9 PT 0 Err 0

A A A A

 

 

\

(;: I: H; I 11; .I .1:

The same analysis may be applied to the annoqgiatura and to
the escape tone when these devices are embellished by ornamental tones.
Each device is identified by the basic pattern of apsroach and depar-
ture which underlies the embellished device.

Example AS. 2he Appoggiatura (App) with Ornamentation.

APP AP!” 0

 

10s

V‘a .V -\ ‘ /7\' .' '\ '
example LS. fne hscape Bone anf) filth ornamentation.

ET ET

0

 

(i=1 XI I I

The avoidance of the term "changing tone" and other terms which
have been used in a broadly descriptive manner for a number of devices
eliminates a source of great confusion in the pedagogy of theory. The
classification and terminology of nonharmonic tones is in this way
limited to nine basic categories with only nine terms used to identify
all possible devices. The concept of ornamental patterns imoosed upon
the basic devices provides for the inclusion of every possible pattern
found in eighteenth~ and nineteenth—century music. A summary of th
terminology variants used in the thir y—two books of the select Sibli—
ography is given in Appendix II. The use of the above suggested class—
fication and terminology reduces this complexity of nonharmonic terms

to a system of analysis and nomenclature which is much more practical

for purposes of instruction in music theory.

 

. I!!! l
l i." ill! 1". I I. i I, 1 I
ll. Ifu’ 1' ll. 1‘1

{HiAPEER V

3W7 ART AND CUNCLUJIUNS

This study was undertaken to investigate the terminoloiy
variants applied to nonharmonic tones in the pedagogy of music theory
and the variety of definitions given for nonharmonic tone nomenclature.
Two hypotheses were established for the study, (1) that theory instruc—
tion can be more effective and learning can be facilitated by the estab-
lishment of a logical system of nonharmonic tone nomenclature, and (2)
that a systematic classification of nonh rronic tones can provide a
basis for a standardized nomenclature. A supplementary background for
the study was established through an examination of literature concerned
with symbols of communication in music, and a study of nonharmonic tones
as a function of dissonance in the evolution of harmony.

There is little disagreement among music theorists regarding
the appropriate content of basic harmony courses which deal with eight-
teenth and nineteenth century music theory. The lack of a standard
terminology in music theory, however, is recognized by most teachers
of the subject as a distinct handicap to pedagogy. The problem of
nomenclature is being met with attempts to reorganize and re—structure
the classifications of nonharmonic devices in numerous harmony tezt-
books published in recent years. aith larger music theory classes and
a decrease in the amount of time devoted to iiiividualized instruction
in music, the need for greater standardization of nomenclature becomes

10?

 

lOB
more apparent. taniard ication of nomenclature is just as essential
for effective communication in music theory instruction as it is in
other subject fields.

A system of naming in the biological sciences has long been
established in the binomial system. Each species is given two names,
the first being the genus to which a species belongs, and the second
being the species name. A most important ChaT41iC teristic of a nomen—
clature system is that duplication of names is avoided. do such
systematic approach to nonharmonic tone nomenclature has been datab-
lishcd, nor, to the author's knowledgt, has any con rrlex ixe study
been made of nonharmonic tone terminolOgy to establish a bati; for a
systematic naminq and defining f terms.

This study indicates that the urinary problem in arriving at
a logical system of n:)r:n :la.turc irs in the manner of classif ying

nonharmonic tones. An examination of the terminology used during the

£4.

past two munlred years reveals that names change their meanings, an
consequently nonharmonic tone terms acquire a number of different
meanin5' s thr u5h attemnts to clarify definitions. There is a tendency
to adhere to f'niliar terms, even tiu)u5h the concepts embodied in

them undergo change as a resr t of new ilsi;tts into analysis. As a
result, the numerous definitions given commonly used terms appear to
be a greater source of confusion in the pedagogy of theory tzan the
choice of terminology itself. 3n the other hand, attemots to estab-
lish new terminolO5y for nonharmonic devices has contributed little to

"'1

a clarification of the trohlem. ioo many concepts and ch niticns

have become attached to the terziioloqy.

 

Ill.
in
i

ll

ii

i

 

'11.. [1' if .
1 I I
Ill-1:. I it!
. Ill
l I.

109

Duplication of nzW and multiple definitions, in manv
instances, have resul*m d from Mni e(u(.r “licir. Mc«tion r from the
complete absence of. ny s; stem of clxcsificaticn. Jhat is nevifs is
a precise infinition for each term, an established concest for each
symbol. An attempt has been made in this study to orfaflime nonharmonic
devices in a systematic fashion and to proviie a locical basis for a
system of nomenclature.

‘he classification system proposed here attempts to este tl s
a nane for each device which has historical authority for its use anl
which has current acceptance. An examination of the various possible

ways of classifying nonharmonic levit we indicates that a melodic

}-_J

approach is the mos w: efu basis for primary classification. Dupli-
ation in classification and terminolczy can be avoided by describing
each device in terms of its melodic appr>ac£1 and departure as the
primary basis of classification. Sub-classificati an era is esta isred
through the use of secondary characV fir sti es of the devices. specifi—
cally, the direction of meloiic movement, the metrical position of the
‘issonant tone, and the direction of resolution in relation to the
direction of approach re characteristics which distingxish similar
devices where secondary distinctions are requirei. Applying these
principles of classification to the nonharmonic devices of the ei ht-
eenth and nineteenth century harmonic styles, the following system of
nomenclature is proposed. The definition of each prOposed term is

based upon its description in the approach- departure classifitsatisn.

 

1 s. v V ‘ H I (
‘ v“ \ v ‘1 ('0 , _;">| 1'\ ‘
r4_r '_ T1 I J Y .L‘,’ A.'(. I L 4(1U
__‘ V g
1 1 ‘ I 1 ‘1 .2 ' ‘ T “ c ‘ °
1'" )‘\r ,*.w fr 1 1' 7-)“ \ 1", 1"? 11“ - t ‘r‘xr J‘. . ‘.7' 5.». .g- ‘
.A- . I- A I\,. C1 \ .1'.. A ‘ IL. -‘ C 4- ‘1 ~\.‘ 1. ! \‘Il >J“ - .1. I :A 0.1., " . C‘*J_L14‘Y‘Q
A . - v

 

 

‘
l

01 hei hy prenaration 31w sustain 1,

Pedal- . mt .1‘bone aw-r

11811511115 m the 1151.3, ‘.'."-:1'Ile the L.t'.1r voice.“ move t‘nro Irjh a successi :51
m1
1

,1
P4

b ' "-xr‘r~ 17“. vi -'\ ‘.: ~ —\ .. ~‘-r \,
oi chords .hich cr1atc a ulssOM leiatinnshi1 with the .ust.i::
tone. The 901al point E75 ns :n‘ (n1: as a chori tone, Vitn the
resolution by nrolonration.

2. Lnnroachri by Rrolonvation eni hflft rv 33in.

Susrrnsion An accented n01}. H‘mcnic tone approachei Ly
preparation, either tied or rentateu, wrich resOIVes steuwise on an
unaccented portion of the measurw, usually downward.

 

3. Anuroached by Proloneation and Left by Skip.

 

In traditional harmonic practice this pattern is regarlej as

an incomplete nonharmonic device containing an unresolvoi dissonance,
ni as such is not given an identifying term. If the dissonant tone

is resolved in another voice of the chord of resolution, the result-
in: pattern may be class iiied as an irrevular form of the usoensicn,
rarely founi in the misic o: the eiahteent" ani nineteenth centiries .

h. Aporoached by step and Left by Prolonqation.

 

Anticipation: A nonharmonic tone a11roaehe:i 1v step all
occurring in a weak rh"thnic 31osi tion, which resolves on an accent i
beat with a ch an1e of rarmony.

 

5‘

S. Aoproaohed by hten and t by izrn.

Passinfi Tone: A nonharnc1ic to'ie a31roache1 steo and

_ T—“Tu—7“ p, , _ . M" ._

(solve! .y etc? in the s. xxe lilettion. .hn massing tone 1.1 be
accented or unaccented.

Neighboring Tone: A nonharno1ic tone aynroached by sten,

ei ther unwarn or iovnward, ani resolved by step in the osmosite
iirecti on. The neighboring tone may be accentei or unaccented.

6. Apdroachcd Fy VtC? ani Left b? 7k13°

 

 

Escape Tone: A nonnarnonic tone aojrorcned stepwise in an
upward direction ani resolvel 13y a ski1 of a third in the 0113 it.

direction witna Chan; e of harmony.

7. Approachel b:_3kip and Left by Prolongation.

 

This nonharmonic pattern occurs infrequently in eighteenth and

nineteenth century music and therefore is not ;';iven a di stin guisnin1
name in this classification. It may be r-;‘“JeJ as an irre 5&1 ar form

of the anticipation.

 

 

i III‘IIIII 1"! II
. '1'!
i i I. i I

iii

lll

1“

‘ ‘ | . v l‘v‘ ‘ ' ‘ .f ~
3y ufilfi dAI srft Dy ut‘fio

CO

L"

'3 ‘ f‘
. Aphroacne

 

Appoqciatura: A nonharxonic tone approached by skin ani
resolved by step in the opposite direction, occurring on an accented

or anacoented beat of the measure.

 

9. gpnroached by Skip and Left by Skip.

 

Free Tone: A nonharmonic tone approached by skin and left
. "l'-—-"‘.—"—"" . . .
by skip in tne OppOSlte direction.

Combined Nonharmonic Devices

 

The nonharmonic de'ices combined simultaneously in two or nor;
voices require no soccia terminology. Each device used in this way is
a sinrle nonharmonic tone device anj is identifiei according to its
approach and departure as one of the basic devices described above.

‘

Devices which are used in succession as repetitions of a single device
likewise are identifiable as basic single-tone devices and are analyzed
as such, requiring no adiitional terminology or classification for
their iJentification.

The approach—departure classification of nonharmonic tones re-
sults in a total of nine distinct patterns which are named and defined

for pedagogical nurgoses. The terminology evolved from this classifi-

cation is proposed as a complete nonharmonic tone nomenclature.

Complete Tonharmonic Tone Womenclature

 

Pedal Point
suspension
Anticipation
Passing Tone
Hoighboring Tone
Escape Tone
Appoggiatura
True Tone
Ornamental Tone

\O C3~Q C\\n;:‘\o n)+4

 

.1“ III II ‘
iii!

112

The prOposed nomenclature of nine terms, when iefinei in refer—
ence to the approach—departure system of clasc'fication shove, encom—
passes all the standard patterns of nonharmonic tone usage which recur
in eighteenth ani nineteenth century harmonic practice. A specific
definition for each term based upon an approachqleparture analysis
identifies each device by description, and precludes the use of the
same term for more than one device. Wnesscntial variations that is”
‘L—

be found in these basic devices may oe explained in reference to the

basic device in question without the necessity for additional terms or

c”

definitions. The infrequent varia ions which may be encounterei are
largely ornamental in nature, without sufficient deviation to obscure
the basic pattern or to necessitate the comwounding o? terminology. in
examination of my ornamented pattern with the ornamental tones omitted
reveals the basic pattern as one of the devices described above.

The following generalizations may be made from the anoroach—
departure classification of nonharmonic tones.

l. Dissonant tones tend most strongly to resolve stepwise up
or down. Resolution by prolongation occurs less frequently, and
resolution by skip may be regarded as an exception.

2. A dissonant tone approached by skip tends to resolve
stepwise in the Opposite direction.

3. Accentcd nonharmonic tones resolve stepwise up or down.

h. Unaccented nonharmonic toncs may resolve by prolongation,
step, or ski,.

C. The approach and departure are classifying factors in all

nonharmonic tones.

concluchns

-—. -.—.— --~ v-

 

1. An examination of the music theory textbooks usei for tni
study ‘evcals a g eat vsiriet" of terms usrn to iientify nonbarmonic
tones. 0 consistent relationship is founi between the devicrs
described and the terms or symbols uscd to refz‘esent then.
2. Hore varictv exists in the definition of nonharmonic te‘

than in the choice of to Na nology it3(l:.

3. No two tieoris ts a fl)p« ar to agree entirely in the ttrmin-

ology and definitions of nonharmonic tones.

‘ ‘ .
a. A large percent: ge of theory textbooms contain no system-

atic presentation of non.1m‘monic tones.

5. The confusion of nomenclature and the use of multiple
meanings of terms is more extensive in those textbooks which present
no systematic classiiication of nonraimonic tones.

6. Recently published textbooks devote more attention to
nonharmonic tones ani present them in a more sys tc Latic manner than
do older textbooks. There is no r‘enelal 'err nt in matters of
classification and nomenclature.

7. Ionharmo;q% tones can be presented in a systematic manner
to facilitate instruction and learning.

t. A leical and sys t€matic classiiic Nation of non'a:'>nLc
tones is a prerequisite to a consistent nomenclature.

9. A system of classification using a meloiic approach and
deoarture analysis is the most inclusiv ve sy stem uaon :hich to base

a nomenclature.

H ‘V‘ V ‘. V “ 1" 1'“ \(H 2“ * a: ' 3 L I. A ' .“- 3 "‘- v 1 -- “ ~
1U. :(UI...1.LIulO.-\J Ldn bu 1L'__'.."lt... RIO (tVULA hilt: -»»(_ Of a LOITH for

more than an baJic czvigc ani to avoid multiple dtfinitions of terms

r. n

by basing definitions ufion an aoproach~ieparture classification oi

nonharmonic devices.

of music theorists regarding nonharzonic tones is

A consensus

needed to establ}sh a systematic nomenclature. Consensus might best

be achieved through the offices of professional organizations concerned

I
wl'
In .5.

th music education, such as the Tusic Educators' National COCFFTGWFH,

A

‘

1f” ‘IJ-i "‘.- ..L. ‘1 f“..\ L“
no- nSQOCiaoion. inc a1,1oi ofiwis on”)

0

ani the Xusic icacnors' Lati
cation and terminology of nonharmonic tcncs for

- ., “r“-‘t‘:
‘TJJOoai -0? Cidole--

the consideration of music thcorists aui teachcns of music theory.

10.

ll.

12.

AFFEJDIX I

SE14: CT BIPLUG RAPHY

Alchin, Carolyn A. Anflw ied {armenv. 2i ed. rrvisei. Los Annalee:

 

'\

I) (~ 7 1-,}— 1’.. 1‘ I
L. LL. Joneo, .L:)/t/" .A—J\).._l'.’l It).

Bridge, Frederick, and Sawyer, Frank J. A Course of ”armony.

6

London: ovello 3 Co., Ltd., n. o., vi, 209p

 

Chadwick, Georfie X. Tarnony. Foston: The F. F. Hood Husic Co.,

Channle, “tanlev. Laneuage of Harmony. “ew York: Wooscv "awkes
BKETLWH...1 ’ TnC O , l/TLI” 172 7 ;,\'o

 

Emery, Stephen A. Elements of Warmony. Rev. ed. Roston: Arthur

 

Foote, Arthur, and Spalding, Jalter R. Hodern TTarmony in 'ts
Theory and Practice. Rev. ed. Boston: The Arthur F.

 

 

Forte, Allen. Tonal Harmony in Concept and Practice. New York:
Rolt, Rinehart and dinston, 1952, vi, 503

 

Goetschius, Percy. The Theory and Practice of Tone—Relations.
New York: G. schirmer, Inc., 1917, 173 p.

 

Heacox, Arthur 3., and Lehmann, Friedrich J. Lessons in Warmony.
Oberlin, Ohio: A. G. Comings & Son, 1931, ix, 237 p.

 

’indemith, Paul. Traditional Harmony. Rev. ed. New York:
Associated Music Publishers, Inc., 19hh, vi, 125 p.

 

Hull, A. Eaglefield Yodern Harmony. London: Augener, Ltd.,
cl9lL3, xiii, 2337p.

 

 

Kitson, Charles H. The E utio on of Yarmcny. 2d. ed. Lonion:
Cmford University P ess, 192D, xii, hié n.

Kohs, Ellis P. Yusic Theory. Vol. I. dew York: Oxford
r)!"

UniVersity Er Tess, 1931, x, a) o.

 

1h.

16.

170

18.

19.

20.

21.

22.

23.

21; .

25.

26.

27.

28.

116

 

 

‘ " Y ‘ 7. . A“ I‘ I 7‘ v 4‘ ' Y. " , ‘ ‘. U “ ‘A '3 I ' '
”close, Allen ngine. Lhe wontlajuical larmcn c leclnu,ur of
1 1‘ n J- . "2 , '7 .1. . if: : V ‘ , “.2 “-- i ‘ '
th? -1-‘ t?1 If‘nU‘lI‘I‘y‘ 0 1177.1" 1.0] .y’. . 1L -jr)lr Lil-.‘Vl— If? 11.11.le K"- :l‘()fv‘3 ,
, .

 

n

T :1" -,7.H15
Inc.) 194;, “V4, QJU p.

Hitchell, Killian J. lenent 3 : rninv 2d 04. TEX York:
Prentice-Tall, Inc., 9HT , XiV, 493 P-

 

Horris, A. C. The foord Harmony. 701. 1. Rev York: foora

 

lurrihy, Howard Ansley, and fltringham, Edwin John. Crea t.ve
Harmony and u.ic“ansn“n. flew York: Prentice-”all,
Inc., 1951, olc p.

 

”orman, Philip P. ”armcny. New York: Consolidated Xusic
Publishers, Inc., 1955, iii, 122 p.

 

Norris, Homer A. Practical Harmony. l°hilaie1nhiaz Theodore
Presser Co., 139D, 215 p.

 

Ottman, Robert W. Elementary Harmony: Theory and Practice.
Englewood Cliffs, N. J.: Prentice-E.all,1nc., lyol,
xiv, 286 p.

 

Piston, halter. Harmony. 31 er. Jew York: N. J. Norton

rz COO, InCO’ 1992’ X, 37h p0

Prout, Ebenezer. Yarnony: Its Theory and Practice. Lonlon:
Augener % Co., 138‘.

 

a1

Ratncr, Teonard :. Iarncnv: Structure and Style. YeW‘Yor‘:
‘ I‘dI—qlll BOO“ 100, Inc., 1952, Vii, 2J6 p0

 

r 3 p

Reed, 9. Owen. Pasic KuSic. Jew York: Tills Xusic, Inc.,
l9th, v,—1§7 p.

 

Richter, Ernst Friedrich. Lanual of Harmony. 16th ed.
Translated from the fifth crmsm edition by John P.
Morgan. Yew York: C. dchirmer, 1589, xii, 219 o.

 

Rinsky-Kc rsakov, H. Practical Xanual of Harmony. Fifth
English ed., translated from the 12th ;;ussian ri
by J. Achron. New York: Carl Fischer, 19h}, 1&2 p.

 

Robinson, Franklin N. Aural Harmony. New
1923, 238 p-

fork: G. Schirmer,

 

Schenker, Heinrich. Harmony. Trans. by Elisabeth Yann

Forgese. Chicavo: The University of ri-aro Press,
195h, xxxii, 35: .

 

 

t.‘

Schillinner, JOSBJh. The Tchillinfcr System of Kugfca
. .' ' 7‘— "- "n . .1, r, 1 5“- ,
Connosition. 2 vols. ,ex _ozu: Sari xiscner, Inc.,

{W fi‘fl f ‘ "
1/41, 2 v.\axzv, ihLO p.).

 

Sessions, Roqer. Harmonic Practice. Jew fork: Harcourt,
Brace 2 70., lvfl, fihl p.

 

Tweedy, Uonald. Tanual of Uarmonic Technique. Voston:
(’ ~77”:

Oliver Ditson Co., lico-

 

Xeifle, Qcorgc A. Applied Harmony. Vol. I. flew York:
. ‘ ‘. ' 1‘, ... /,.J
G. sonirmer, In ., 19);, Viii, low p.

/

 

I“ " 11f \ f‘ ,‘17‘.'- ".‘~"I" V r ‘-f Y‘! . Vfl' V“ ‘l *‘p‘flj '7 ,‘ 1“: ”"fi ‘ ' \ro- . x I? ""‘\.T - r 'f‘r "', r
OLA L4 I]: 1.1;“!Lf l. :JJ’iA J ‘J‘V‘LIKNL Ti 1‘ (JI‘ .L .{La . Ii.nL iz:’XLJ.L‘.J AJIL"..‘.-1‘&1\—1“.\ If) 1);: ‘J .L’JgJ.)

Each of the nine ta ic devices is give. a nunher of names by
theorists, with distinctions in terminology often based upon detail
usaqe in a specific musical context. 3 re than one term sometimes is

used for the same nonharmonic device in a given textbook.
same term to more than one device, and to tones which are

apnly the
as well as ' Terminoloqv variants

I
n.

Come theoriSts

consonant to those which are dissonant.

for each device are based unon one or more of the followint considerations,

according to whether the dissonant tone

1. is accented or unaccentcd

afioroached upward or downward

3. is resolved upward or downward

tied or not tied

S. appears as a note value waich is metrical (having a
duration of the metrical unit or larger} or subnctrical
(having a duration of loss than the metrical unit)

6. is resolved immediately or with a delayed resolution

7. is resolved directly in the same voice or indirectly
in another voice

")

1 with the same chord as
or with a iifferent chord

\“A
0
£1)
J
’U
D
n )
Ch

chord of encroach

9. appears with the s-ne chord s the chori of resolution

or with a different chord

OT 1n an UTWCT VOLCG

’1
D
J
.3
”D
H‘
-J
m
In
x.
r-
.4

Av gryvp
a. )Clde
~ .

n a slow tenno or in a fast tenwo.

p-a
Ho

ll. is uscc

The terms given in the following tabulations are those whion
found as jeneral classifying terms for each,basic device. The
numbers corresnonl to the numhcred entries of the Select Tibliogranhy
presented in Appendix I. The absence of a hitliogranhy reference

numhcr indicates that the
name by the author of the

device was not identified
textbook .

118

w-raIJ- (I: \ i; q.
”1th a sgecl1ic

119

A,“ 1 r h’ ~v :‘i "-r". I ‘ -v j “.7“‘- L:
1. 1r)oioachal n1 :ICflJfll(lolOW and Leit by {TWLA.L'}tiO..

U

 

 

 

 

ial Hots
(5".in

edal Point
1. ‘eial

‘rqan Point

Pedal Point
Pedal 19.
Pedal Point; Organ Poin
Pedal Wote

C‘gan Point; Sustained Tote
Pedal “ote 3. Pedal Point
Pedal Vote 2h. Peial Point
Organ Point 2;. Organ Point

/

NH
0

61

F“
\A}
C

1) "— FJ

s
I
.r

O
’"U’

va1£?&t
O O O
m>mzn3m>

m

0

C

~\C: (EN
0

. Pedal Point 2o. Organ Point
1-. Pedal 27. Organ Point; Stationary Jane

12. Pclal 2R. 2eda1 Point

3. Pedal Point 29. ”cdal Point

1h. Pedal Point LO. “eial Point
15. Orfian Point 1. trgan Toint
lCu Ilcdsfl- 2 "3jan ixiint

o L
f) '.‘1 ,5
1‘ C 4
(o . A ’c. I

H

*oint

2. Apnroachci h:;Prclon ation and Left 1v Sten.

3 ~

(a) (b)

     

C: IV

H
C)

V

Suspension 17. suspension; Letardation
Suspension; Retardation 18. Suspension; hetardation
Snapension; Inverted 19. suspension

Suspension 20. Suspension; Retardation
Suspension 21. Suspension

1

2

3

h.

5. Suspension; Appogqiatura 22. suspension
6. Suspension 23. Suspension
7. Suspension 2h. Luspensicn
8. Suspension 25. Suspension
9. Suspension; Retardation 26. Suspension
10. Suspension 27. Suspension
1. Susoension 28. Susoension

eJeJ
l\)

Suspension 29. Suspension
Susnensicn 30. Juspensio:

1h. Suspension 31. 5uSpcnsion
1f. inspension 32. Suspension
5 . Llusliensi on

r'“
\A)
.

\‘ A)

120

. Approached by Prolonfintion and Left by

 

‘JIMF-‘V‘lel‘NP-J
O

FJFJFJ

h.

 

C)

Free Eytonc
Driving Note
Suspension
Suspension
Incomplete
Crnamental

Suspension

suspen51on

: IV I

Suspension; Preparation

Syncopation
Suspension

16.
1?.

18..
r)
C. o

2).
0d

2(2).
29.
31.

Welayed Tone
Free Yonharmonic
Synconation
Shanxing Tote
Jhanging Hote
Unresolvei Suspension
ghnyzensicml

Suspended Tone
Unessential Tone

"
1. C7163

Approached by Step ani Left by Prolongation.

 

*0 TON map) m H

H
O

11.

Co
13.
1h.
15.
16.

 

 

 

 

Anticipation
Anticipation
Anticipation
Anticinntion
Anticipation
Anticipation
Anticipation
Anticipation
Anticipation

 

 

 

Driving Note; Preparation

Anticioation
Anticipatio‘
Anticipation

Direct Anticipation
Anticipation

- - ~-n-—— cum-

Anticipation
Anticipation
Anticipation
Anticipation
Anticipation
Anticipation
Anticipation
Anticipation
Anticioation
Anticipation
Anticipation
Anticipation
Anticipation
Anticipation
Anticipation

S. Anrroachcd by Step and Left by Stew.

 

(a) (b:

\

   

C)
H
C)
H

(a) The term passing tone is annliei to the first pattern (a)
in all of the textbooks listed in the select Wihliography. Some theorists
use the term apnoqgiatura for this device when the dissonant tone is
accented.

 

 

 

-1

(b) A variety of terms is founJ for the second form (b) of Unis
basic melodic device.

1. Auxiliary 17. Apoogeiatura

2. Auxiliary Note 18. Auxiliary Vote

3. Embellishment 19. Chanjing Tote

h. Passing Note 20. Heizhboring Tone

5. financing Vote 21. Auxi iary Tone

6. Auxiliary Tone 22. Auxiliary note

7. Auxiliary Tote 23. Heighborinn Tone

F. Heifhboring Tote 2h. Neifihborine Tone

9. Embellishment 2;. Auxiliary Vote
10. Changing Tone 26. Lmtellishinq Tote
11. Passing Wote 27. Teithboring Tone
l2. Auxiliary Yote 28. dhangin: vote
13. Neighboring Tone 29. Auxiliary Cone
1L. Heighboring Tone 30. Neighboring Tone

L
H

15. Ueizhboring Tone Auxiliary $one
16. Auxiliary )2. Weiqhboring Tone

6.

l
l
l
1

1h.

1

10.
ll.
12.
13.
15.
16.

Annroacned by ftv? 831 L“ft by

 

 

 

 

 

 

 

l.
2.
3.

b.
6.
7.

Free Anticipation

Auxiliary Mote

Changing lone; Irregular
Anticipation

Passing Note

Changing Tone

Auxiliary Tote

Irregular Anti‘ipation

Free Anticipation

Neithborinq Tone

Passing Iote

Auxiliary Tote

TCchannée

Escane Tone

Indirect Anticipation

Yelodic Wecoration

9.
O.
l.
2.

r‘
1
/.

r—l

.'.

6.

19.

[\J
(V) -\J r) \JI ."
o

').r

x.
O

\x} \A) [\D M [‘0
.u

H

" n ‘ ~~ 9". 4 '». :w. ,
‘wroacned I; “(1) an- urft hy_xiolon»

V

fichappée
ichappée
Anticigation;
Escaped Tone
ichappée
fihanging Vote
Escape Tone
Bscaoe Tone
Ghangine Tote
Auxiliary Vote
Adorning Tone
Anticination
Auxiliary “one

v‘ ' .'
.‘I‘CFS

'eiwhborin"

Passing Note

;‘ 2‘le

". o n ‘ ‘
nuXiliary _one

:ation.

 

 

IV

C)

. Anticipation
. Anticipation
. Anticipation
Passing Note
. Skip fiote; Anticipation
. Anticipation
. Anticipation
. Anticipation
. Anticipation
Anticipation
Driving “Ote
Anticipation
Anticinatinn
Anticipation

.ubsiiiary "ote

17.
18.
19.
21.

ff}
C.

23.
2b.
2:.
26.
27.
27:3:
3(30
31.
52.

Anticipation

Free Anticination
Anticipation
Anticipation
AnticiJation
Anticination

in icioation
Anticipation
Unoreoared jzsncnsion
Anticipation
Anticipation
Anticipation

Free Antici ation
Anticinetinn
Anticinaticn

 

l 1"" I 1.01]. 1 ii‘ I

 

 

0
L20

9.

Anoroached by Skin and L€,o

r» 1..-
IJ’y

its").

 

owl—J
00....

‘4 OUTC-‘k

2.

9.
10.
ll.
12.
13.
1h.
15.

16.

 

C: I

Aoooggiatura
Appocciatura

lid.)
Appongiatura
Apooggiatura
Skip Note; AoDOfijiatura
Anoonsjiatura
Incomplete Auxiliary Tote;
Appo «T "_ i atnra
Unpreoarod Jusnenoion
A unoff'i a t1 1ra
Teighboring Tone
Annocciatura
Annogqiatnra
Annex-"ti atura
Appoafiiatura
Indirect Susnensiong
Incomplete Yeighhor
Subsidiary Note

IN)
N

h) R)

{\3
C\“n "“ \,A)

 

Apnoggiatura; Acciaccatura

Free Anticipation

A1);)Ozf‘_;gj.iatura

AggaOMFj i atura

Appoqjiatura; Camhiata

Auxiliary iote; Uneasential
Discord

Annotciatura

Annoqdiatura

Changing Vote
Auxiliary Note

Heighboring Tone
pension
Auxiliary Tone

Annogniatura

““1“ ,.Z "1 J. n.. -f'r-L‘
Juaiginq ion<, ”9” g ldblra
Appogciatura

1\:‘
LJ'lLJ
"

 

 

 

 

 

Approached by Skip and Left by Skip.
{:21
fi

1.
2.

3.

h.
S.

6.
7o

9.
10.
ll.
13.
1:.

I
I

la.

 

C)
H

Free Tone
Unessential Tote

Embellishing Tone; Irregular

Anticipation
Passing Vote
Changinfl-note
Nelodic Figuration
Incomplete Arpeggiation
Irregular Anticipation
Free Tone
Free Tone
Passing Tone
Unpreoared Weiqhboring Tone
Incomnlete Figuration

I'AJV'!.A ''\"\\'y\ 4'. \fi
A“:: OxAl'J .1".- (\-’\).J. aUlOAJ

17.

O
U o

19.
22.
23.
2h.
29.
26.
27.
23.
29.
30.
31.

Free Honharnonic Tone
Free Anticipation
Passing Note

Changing Uote

Chordal Figuration
Free Tone

Free Chancin: Vote
Tree Teloiic Tiguraticn
Weifihhoring Tone
Elliptic Anticipation
Auxiliary Tone

Tree Weichboring Tone
Changing Tone

Primal“); Liourc es

 

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Coleman-Ross Compa.y, Inc., 1950.

 

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Fairstow Sir Edward Cuthbert. Counterpoint and Harmony. 2d ed.
) A ‘ , .
London: Iacmillan and Co., utd., 19:5.

 

Garner, Kosco. Twentieth Century Harmony. London: Joseph Jilliams,
:Jt'J o , 1.9—1.2 o

 

Catel, Charles Simon. Trai e de'Warmonie. Paris: Ueuvel et Cie.,
18u2.

 

Chiiester, Harvin E. ”A study of some Fundamental Kusical Terms.”
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(

‘ r- 3- ~ ‘fi n l». \ .
ptate leacnrrs

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)
XVIII oeLtur'ies. LOIIClOII: OXfOI'Cl U’llVE’l‘Eiity FI‘C'SJ, 1'1. i.

 

 

Dunk, John L. The Structure of the musical Scale. London: John Lane
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Garrett, Allen I. An Introduction to Yesearch in Tusic. fashinnton,
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12

\fl,

Grove' 5 Dicrtioiary c1 Eusic and ”usic ians. 5th ed. El. by Eric Elem.
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3;,

Katz, Adele T. Tall:nec to fusical iradi tion. It. York: Alfred
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e
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r r 7

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McKay, George Frederick. The Technique of fiodern Yarmony. Ann Arbor,
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w:

New Oxford History of Music. London: Oxford University Press, lipa—

 

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Oxford English Dictionary. Qxford: Clarendon Press, 193). 13 Vols.

 

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Piston, fialtcr. Princioles of Harmonic Ana vsis. Boston: 3. g.
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T"

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126

Schillincer, Joseph. Th e Schill _ncer System of Xusical Iomwio ition.

{‘Y

-. 1’
new York: Carl Fischer, Inc., ljal.

 

 

 

 

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Turner, Tom. "A Pro oosal for a Qt abilized Tonchord Tone ”omenclature,"
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A.) ’

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1)-

U)

seceni ry Source
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‘-

BillingS, Jil’iam. “he Continental Harnony. Liitcd by 'Ta m3 Kathan.

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1‘rvd‘, ‘_ .,‘. ~ ‘ (. ‘
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LJV

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7‘ O _ "" ,~. '1‘1,~ ~r\\ v ‘- -Y 1- r ‘ ‘P a ‘ T ‘ T ’ I; -‘
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o-

 

”11.

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