Music is a language, and just like any language, it has its own set of rules and vocabulary. In the realm of harmony, nonchord tones, often called non-harmonic tones, add color, tension, and interest, much like spices do in cooking.
Let's break down some of the most common types of nonchord tones in a way that's easy to digest. I will use simple musical examples in the key of C Major to illustrate each type of nonchord tone.
Imagine you're walking from point A to point B in a straight line, and you briefly step on point C in between. That's what a passing tone does musically. It's a note that steps from one chord tone to another, in the same direction, creating a smooth connection.
Context: C Major chord (C-E-G) moving to an F Major chord (F-A-C)
Example: In a melody over these chords, you might have the notes C (chord tone of C Major), D (passing tone), E (chord tone of C Major, moving towards F Major).
Now, picture stepping out from your home (point A) to check the mail (point B) and then stepping right back home. A neighbor tone steps away from a chord tone and then immediately steps back, moving in the opposite direction, like a quick visit to a neighbor.
Context: C Major chord (C-E-G)
Example: If the melody notes are E (chord tone), F (upper neighbor tone), E (return to chord tone), the F is a neighbor tone because it steps away from and then back to the chord tone E.
This is the dramatic entrance to the party. The appoggiatura leaps onto the scene (from a chord tone) and then steps down gracefully to resolve into conformity. It's a leap followed by a step, often highlighting emotional points in the music.
Context: G7 chord (G-B-D-F) resolving to C Major chord (C-E-G)
Example: A melody might leap from a C to a B (appoggiatura) over the G7 chord, and then resolve down to a G when the harmony resolves to the C Major chord.
The escape tone is the opposite of the appoggiatura. Imagine stepping out cautiously (from a chord tone) and then making a bold leap in the opposite direction. It's a quick step away followed by a leap, like making a sudden, unexpected move.
Context: C Major chord (C-E-G)
Example: A melody could move from G (chord tone), step up to A (escape tone), and then leap down to F (a note in the next chord or a continuation of the melody in an opposite direction).
Think of this as a combination of two neighbor tones. You start at home (a chord tone), visit one neighbor, come back home, and then visit the other neighbor before returning home again. It's a step away to one side, a step back, and then a step to the opposite side before returning.
Context: C Major chord (C-E-G)
Example: Starting on E (chord tone), the melody could move to F (upper neighbor), back to E, down to D (lower neighbor), and return to E. This creates a double neighbor figure around the chord tone E.
This is the moment right before everyone shouts "Surprise!" at a surprise party. The anticipation tone steps away from a chord tone and then holds its position, landing on the next chord a bit early and waiting for the harmony to catch up.
Context: Moving from a C Major chord (C-E-G) to an F Major chord (F-A-C)
Example: Over the C Major chord, the melody might include the notes E, G, and then F (anticipation), where the F anticipates the next chord (F Major) before the harmony actually changes.
A pedal point is like a steadfast friend, staying constant amidst change. It holds the same note while the harmonies change around it, providing a grounding effect that can be both dramatic and stabilizing.
Context: A progression from C Major (C-E-G) to F Major (F-A-C) back to C Major
Example: The bass might hold a C note (pedal point) throughout changes from C Major to F Major and back, despite the harmonic changes.
Imagine holding onto a rope swing a moment too long before jumping off. A suspension holds a note from one chord into the next and then steps down to resolve into the new chord, creating a moment of tension and release.
Context: Moving from C Major (C-E-G) to F Major (F-A-C)
Example: If a melody or voice holds onto the G (suspension) over the change to F Major before resolving down to F, the G acts as a suspension.
The gentle counterpart to the suspension, a retardation, also holds a note into the next chord but resolves by stepping up instead of down. It's like hesitating before accepting an upward nudge, offering a softer resolution.
Context: Moving from F Major (F-A-C) to C Major (C-E-G)
Example: A melody or voice might hold onto an A (retardation) as the harmony moves to C Major, and then the A resolves up to B, a chord tone in C Major.
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