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NONHARMONIC TONESSubcourse Number MU 1715
EDITION B
US Army Element, School of Music
1420 Gator Boulevard, Norfolk, VA 23521-5170
7 Credit Hours
Edition Date: March 1996
SUBCOURSE OVERVIEWThis subcourse is designed to teach you to
identify and classify nonharmonic tones.
Your must complete the following two prerequisites before you
begin studying the material in this subcourse:
MU 1300, Scales and Key Signatures.
MU 1305, Intervals and Triads.
Unless otherwise stated, the masculine gender of singular
pronouns is used to refer to both men and women.
TERMINAL LEARNING OBJECTIVE:
ACTION: You will identify and classify nonharmonic tones as they
occur in given melodies.
CONDITION: Given the information in this lesson.
STANDARD: To demonstrate competency of the subcourse, you must
achieve a minimum of 70% onthe examination.
TABLE OF CONTENTS
Section Page
Subcourse Overview
Administrative Instructions
Grading and Certification
Lesson 1: Identifying and Classifying Nonharmonic Tones
Part A--Nonharmonic Tone FunctionPart B--Nonharmonic Tone
ClassificationsPart C--Nonharmonic Tones in Single Melodic
LinesPractice ExerciseAnswer Key and Feedback
Lesson 2: Rhythmically Weak Nonharmonic Tones
Part A--Passing TonesPart B--Auxiliary TonesPart C--Changing
TonesPart D--Echappees
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Part E--CambiatasPart F--AnticipationsPart G--Weak
AppoggiaturasPractice ExerciseAnswer Key and Feedback
Lesson 3: Rhythmically Strong Nonharmonic Tones
Part A--Appoggiaturas, Accented Passing Tones, and Accented
Auxiliary TonesPart B--Suspensions and Pedal TonesPractice
ExerciseAnswer Key and Feedback
Examination
Student Inquiry Sheet
ADMINISTRATIVE INSTRUCTIONS
1. Number of lessons in this subcourse: Three.
2. Materials needed in addition to this material are a number 2
pencil and the ACCP examination responsesheet and preaddressed
envelope you received with this subcourse.
3. Supervisory requirements: None.
Grading and Certification Instructions
Examination: This subcourse contains a multiple-choice
examination covering the material in the three lessons.After
studying the lessons and working through the practice exercises,
complete the examination. Mark youranswers in the subcourse
booklet, then transfer them to the ACCP examination response sheet.
Completely blackout the lettered oval which corresponds to your
selection (A, B, C, or D). Use a number 2 lead pencil to mark
yourresponses. When you complete the ACCP examination response
sheet, mail it in the preaddressed envelope youreceived with this
subcourse. You will receive an examination score in the mail. You
will receive seven credithours for successful completion of this
examination.
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LESSON 1IDENTIFYING AND CLASSIFYING NONHARMONIC TONES
OVERVIEW
LESSON DESCRIPTION:
In this lesson, you will learn to identify and classify
nonharmonic tones and how they function as they occur ingiven
melodies.
TERMINAL LEARNING OBJECTIVE:
ACTION: You will identify and classify nonharmonic tones.
CONDITION: Given the material in this lesson.
STANDARD: IAW the information given in this lesson.
REFERENCES: The material contained in this lesson was derived
from Training Circulars 12-41 and 12-42.
INTRODUCTION
The study of nonharmonic tones has many variations. Every music
theory book presents nonharmonic tones in its ownway. Even the term
"nonharmonic tone" is NOT standard. Nonharmonic tones are called:
non-chord tones, foreigntones, accessory tones, bytones,
non-essential tones, and embellishing tones. The term "nonharmonic
tone" is used inthis subcourse.
Almost every music theorist has his own definition of
nonharmonic tones. Some theorist say that there is literally nosuch
thing as a nonharmonic tone since tones sounding together create
harmony. Other theorist fill a page with thedefinition of
nonharmonic tones. TC-12-42 provides a good simple definition:
"nonharmonic tones occur with chordsbut are NOT chord members." To
identify nonharmonic tones, you must first identify the chord
tones. Nonharmonictones are an important part of a melody. A melody
written with only chord tones would sound boring.
Therefore,nonharmonic tones added between chord tones (also called
chordal tones) add motion, tension, and interest to a
melody.Although a nonharmonic tone is identified because it is NOT
part of the chord, the true nature of a nonharmonic tone
ismelodic.
PART A--NONHARMONIC TONE FUNCTION
1. Nonharmonic Tone Function. You must examine the melody to
understand how a nonharmonic tone functions. Therhythm and motion
of the melody dictate how a nonharmonic tone functions. Nonharmonic
tones create stress ortension that press to a resolution.
Nonharmonic tones:
a. Add ornamentation to the music (Figure 1-1). Excerpt from
Peter Tchaikovsky's Overture Miniature (letterB) from the
Nutcracker Suite.
Figure 1-1: Ornamentation to MusicNOTE: Chord symbols have been
included to help in identifying chord tones. See TC 12-41 for an
explanation of
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chord symbols. The nonharmonic tones referred to in the text are
circled in Figure 1-1 and all following figures.
b. Add smoothness to the flow of the melody (Figure 1-2).
Excerpt from Leroy Anderson's Sleigh Ride (fourmeasures after
letter A).
Figure 1-2: Smoothnessc. Add melodic movement when the harmony
is sustained (Figure 1-3). Excerpt from Roland Seitz'
March Grandioso (measures 21-24).
Figure 1-3: Movementd. Add tension to the music (Figure 1-4).
Excerpt from Gustav Holst's Second Suite for Military Band in F,
fourth
movement (letter F).
Figure 1-4: Tensione. Suggest a different harmony (Figure 1-5).
Excerpt from the National Anthem (second strain).
Figure 1-5: Different Harmony
PART B--NONHARMONIC TONE CLASSIFICATIONS
2. Classify Nonharmonic Tones. A nonharmonic tone is identified
by the fact that it does NOT belong to the givenchord. In order to
classify a nonharmonic tone, you must examine the melody. A
nonharmonic tone usually occursmelodically between two chord tones.
A nonharmonic tone is classified by the relationship of the
nonharmonic toneto the chord tones that come before and after it.
In order to classify the nonharmonic tone, you must analyze
thethree notes involved. These three notes are called the:
a. Note of approach (also called the note of precedence). This
note is the chord tone that comes before thenonharmonic tone.
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b. Nonharmonic tone. This note is also called the dissonance.
There can be more than one nonharmonic tonebetween two chord
tones.
c. Note of resolution. This note is the chord tone that follows
the nonharmonic tone.
3.The following steps will explain how to analyze nonharmonic
tones.
a. First, identify the nonharmonic tone (Figure 1-6). The melody
from America is used in the Figures 1-6, 1-7,and 1-8.
Figure 1-6: Nonharmonic Toneb. Next, identify the note of
approach (Figure 1-7).
Figure 1-7: Note of Approachc. Then, identify the note of
resolution (Figure 1-8).
Figure 1-8: Note of Resolutiond. Use the following method to
classify all nonharmonic tones throughout this subcourse (Figure
1-9).
Figure 1-9: Classification Method4. Chromatically Altered Notes.
Both chord tones and nonharmonic tones can be chromatically altered
by the use of
an accidental. An accidental does NOT mean the note is a
nonharmonic tone. The chromatically altered notes in
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figure 1-10, (excerpt from the first strain of the National
Anthem,) are chord tones, NOT nonharmonic tones.
Figure 1-10: AccidentalsPART C--NONHARMONIC TONES IN SINGLE
MELODIC LINES
5. Nonharmonic Tones in Single Melody Lines. Melodies usually
suggest a harmonic background. Chord tonesnormally occur on strong
beats and are usually the interval of a third or fourth apart. If
you can identify the chord,you can identify the nonharmonic tones.
The key signature also helps you identify the chord. You can
identify thetonic and dominant chords by looking at the key
signature.
a. Edwin E. Bagley's National Emblem (first strain, euphonium
part) illustrates how the harmony is identifiedfrom the melody.
This section is in the key of E flat and all of the melody notes
are chord tones in the E flattriad. The harmony of all three
measures is in the key of E flat. (Figure 1-11).
Figure 1-11: Harmony Identified From Melody
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b. The nonharmonic notes in a single melody line are easy to
identify in John Philip Sousa's march, King Cotton,(second strain,
clarinet part). The example is in the key of E flat. The only notes
that occur on the beats, E flatand G, suggest an E flat chord. The
D and F in the first measure and the D in the second measure
arenonharmonic tones (Figure 1-12).
Figure 1-12: Nonharmonic Tones, Single Melody Line
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LESSON 1
PRACTICE EXERCISE
The following items will test your understanding of the material
covered in this lesson. There is only one correctanswer for each
item. When you have completed the exercise, check your answers with
the answer key thatfollows. If you answer any item incorrectly,
review that part of the lesson which contains the portion
involved.
1. What is the true nature of a nonharmonic tone?
A. Chord member
B. Chord tone
C. Harmony
D. Melodic
2. When analyzing nonharmonic tones, what is the nonharmonic
tone called?
A. Consonance
B. Dissonance
C. Note of approach
D. Note of resolution
3. What dictates how a nonharmonic tone functions?
A. Melody and harmony
B. Ornamentation and unstressed
C. Rhythm and motion
D. Stress and tension
4. What adds ornamentation and smoothness to the flow of the
melody?
A. Chord tones
B. Interest
C. Nonharmonic tones
D. Tension
5. When can you use chromatically altered notes?
A. Chord tones and nonharmonic tones
B. Chromatically altered by accidental
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C. Key signature sharps and flats
D. Tonic and dominant diatonic chords
Figure 1: Questions 6 and 7
6. (Refer to figure 1.) Which measure contains a nonharmonic
tone?
A. One
B. Two
C. Three
D. Four
7. (Refer to figure 1.) What is the chromatically altered note
in measure two?
A. Auxiliary tone
B. Chord tone
C. Embellishing tone
D. Nonharmonic tone
8. Where do chord tones usually occur in a melody?
A. At the interval of a second
B. At the interval of a seventh
C. On strong beats
D. On week beats
9. Where do nonharmonic tones usually occur?
A. Between two chord tones
B. In groups of nonharmonic tones
C. In groups of three
D. Melodically
10. How many note(s) must you analyze to classify a nonharmonic
tone?
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A. One
B. Two
C. Three
D. Four
11. What is the note that comes before the nonharmonic tone?
A. Dissonance
B. Note of approach
C. Note of consonance
D. Note of resolution
12. What is the note that comes after the nonharmonic tone?
A. Consonance
B. Dissonance
C. Note of approach
D. Note of resolution
13. What can help identify the chord tones in a single melody
line?
A. Clef
B. Key signature
C. Meter signature
D. Rhythm
14. What must you first recognize to identify nonharmonic
tones?
A. Chord
B. Meter
C. Rhythm
D. Time signature
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Figure 2: Questions 15
15. (Refer to figure 2.) Nonharmonic tones occur in which
measures?
A. One and two
B. One and three
C. One, two, and three
D. Two and three
Figure 3: Question 16
16. (Refer to figure 3.) The nonharmonic tone in measure one
occurs on which beat?
A. One
B. Two
C. Three
D. Four
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Figure 4: Question 17
17. (Refer to figure 4.) The nonharmonic tone in measure two
occurs on which beat?
A. One
B. Two
C. Three
D. Four
Figure 5: Question 18
18. (Refer to figure 5.) The nonharmonic tone in measure three
occurs on which beat?
A. One
B. Two
C. Three
D. Four
Figure 6: Questions 19 and 20
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19. (Refer to figure 6.) Which notes are nonharmonic tones?
A. One, three, and four
B. One, three, and five
C. Two, four, and five
D. Two, four, and six
20. (Refer to figure 6.) Which of the following does NOT
describe the E naturals in the second measure?
A. Chromatically altered notes
B. Non-chord tones
C. Note of resolution
D. Nonharmonic tones
LESSON 1
PRACTICE EXERCISE
ANSWER KEY AND FEEDBACK
Item Correct Answer and Feedback
1. D. Melodic.(Page 1-1, paragraph Introduction)
2. B. Dissonance.(Page 1-4, paragraph 2)
3. C. Rhythm and motion.(Page 1-2, paragraph 1)
4. C. Nonharmonic tones.(Page 1-2, paragraph 1)
5. A. Chord tones and nonharmonic tones.(Page 1-5, paragraph
3)
6. D. Four.
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(Page 1-1, paragraph 2)
7. B. Chord tone.(Page 1-5, paragraph 3)
8. C. On strong beats.(Page 1-6, paragraph 4)
9. A. Between two chord tones.(Page 1-4, paragraph 2)
10. C. Three.(Page 1-4, paragraph 2)
11. B. Note of approach.(Page 1-4, paragraph 2)
12. D. Note of resolution.(Page 1-4, paragraph 2)
13. B. Key signature.(Page 1-6, paragraph 4)
14. A. Chord.(Page 1-1, paragraph Introduction)
15. B. One and three.(Page 1-1, paragraph Introduction)
16. B. Two.(Page 1-1, paragraph Introduction)
17. B. Two.(Page 1-1, paragraph Introduction)
18. A. One.(Page 1-1, paragraph Introduction)
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19. D. Two, four, and six.(Page 1-1, paragraph Introduction)
20. C. Note of resolution.(Page 1-6 &1-7, paragraph 3 and
4)
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LESSON 2RHYTIMICALLLY WEAK NONHARMONIC TONES
OVERVIEW
LESSON DESCRIPTION:In this lesson, you will learn to identify
rhythmically weak nonharmonic tones.
TERMINAL LEARNING OBJECTIVE:ACTION: You will identify
rhythmically weak nonharmonic tones.
CONDITION: Given the material in this lesson.
STANDARD: IAW the information given in this lesson.
REFERENCES: The material contained in this lesson was derived
from Training Circulars 12-41 and12- 42.
INTRODUCTION
Nonharmonic tones can be grouped into two categories;
rhythmically weak and rhythmically strong nonharmonictones. The
rhythmically weak (non-accented) nonharmonic tones are discussed in
this lesson. The rhythmicallystrong (accented) nonharmonic tones
are discussed in Lesson Three. Rhythmically weak nonharmonic tones
occuron weak beats or a weak part of the beat and are called
unaccented nonharmonic tones. The dissonance ofrhythmically weak
nonharmonic tones is softened by the weak rhythmic position of the
nonharmonic tone.Rhythmically weak nonharmonic tones add smoothness
and ornamentation to the melody. Although rhythmicallyweak
nonharmonic tones do NOT add much tension to the music, they do add
variety and interest to the melody.The rhythmically weak
nonharmonic tones discussed in this lesson are the:
passing tone
auxiliary tone
changing tone (also called note cambiata)
echappee
cambiata
anticipation
weak appoggiatura
PART A - PASSING TONES
1. Passing Tones. The passing tone is a nonharmonic tone that
occurs stepwise between chord tones of differentpitches. Passing
tones give the melody stepwise motion between different chord
tones. Passing tones can beadded between any melodic interval of a
second, third or fourth. Passing tones can be either diatonic (a
notewithin the key) or chromatic (a note which is chromatically
altered).
a. The most common use of a passing tone is to fill the interval
of a third. Jerry Bilik's Civil War Fantasy(letter C) is an example
of passing tones "filling in" the interval of a third (Figure
2-1).
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Figure 2-1: Passing Tone Between Thirds.b. A passing tone that
is added between the interval of a second is less common. It is
always a
chromatic passing tone. Peter Tschaikovsky's Danse Russe Trepak
(7 measures after B) from theNutcracker Suite is an example of a
passing tone between seconds (Figure 2-2).
Figure 2-2: Passing Tone Between Seconds.c. Passing tones can be
used alone or in groups. At least two passing tones must be used to
fill the interval
of a fourth. You can use up to four passing tones to fill the
interval of a fourth. Joyce's 71st RegimentMarch (opening measure
of second strain) is an example of two passing tones between the
interval of afourth (Figure 2-3).
Figure 2-3: Passing Tones Between Fourths.NOTE: The two passing
tones in Figure 2-3 are diatonic. The scale used is a melodic minor
scale which raises the6th and 7th scale degrees. Remember, an
accidental does NOT mean the note is a nonharmonic tone.
d. Gustav Holst's Second Suite in F for Military Band (opening
measures) is an example of passing tonesoccurring in a melody line
without harmony. Although there is no harmony written, the opening
measuresstrongly imply tonic harmony. When the passing tones are
identified, you can see that the notes of the tonicharmony (chord
tones) are in the strongest rhythmic position (Figure 2-4).
Figure 2-4: Passing Tones in Melody Without Harmony.e. Passing
tones occur in a melody any time the melody moves stepwise over a
single chord tone. A
chromatic "run" in the melody contains several passing tones.
The passing tones create a flowing line
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and give the line motion at the same time. Carmen Dragon's
America the Beautiful (opening measures) isan example of passing
tones occurring in a scalewise run over a single chord tone (Figure
2-5).
Figure 2-5: Passing Tones, Scalewise Run.2. Passing Tones on
Strong Beats. A passing tone can also occur on a strong beat. This
occurs when there is
stepwise motion with short note values such as in a run.
Although the passing tone occurs on a strong beat, it isstill
considered rhythmically weak. Since the passing tone is a note of
short value (like the other notes) and it isNOT emphasized in the
melodic line, it is rhythmically weak. Roland Seitz's March
Grandioso (measures21-24) is an example of passing tones occurring
in rhythmically strong positions. In Figure 2-6, passing tonesoccur
on beat two of measures 21 and 23 and on both beats one and two of
measures 22 and 24. All of thesepassing tones are rhythmically
weak.
Figure 2-6: Passing Tones on Rhythmically Strong Beats.NOTE:
Figure 2-6 also illustrates the use of three and four passing tones
between chord tones.
3. Passing Tones Between Different Chords. So far, passing tones
have occurred between two chord tones of thesame chord. Passing
tones can also occur between two chord tones of different chords.
Ralph VaughanWilliams' Folk Song Suite (third movement) is an
example of passing tones occurring between chord tones ofdifferent
chords (Figure 2-7).
Figure 2-7: Passing Tones Between Different Chords.4. Performing
Passing Tones. Passing tones help the melody pass smoothly from one
note to another. They create
a melody that advances in succession or moves forward step by
step. Passing tones are performed with a feelingof progression,
connection, and smoothness. Since a passing tone is rhythmically
weak, it should NOT beemphasized.
NOTE: The key to performing a nonharmonic tone is to look at its
name. All nonharmonic tones have names thatdescribe what they
do.
PART B - AUXILIARY TONES
5. Auxiliary Tones. An auxiliary tone is a nonharmonic tone that
occurs stepwise between two chord tones of thesame pitch. The
auxiliary tone always occurs in a rhythmically weak position.
Auxiliary tones are also calledneighboring tones, returning tones,
turning tones, embellishments, and broderies. An auxiliary tone can
beeither an upper auxiliary tone or a lower auxiliary tone.
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a. An upper auxiliary tone is a nonharmonic tone that occurs a
step above two chord tones of the same pitch(Figure 2-8). Excerpt
from Ralph Vaughan Williams' Folk Song Suite (first movement,
measure 66).
Figure 2-8: Upper Auxiliary Tone.NOTE: Diatonic nonharmonic
tones are notes within the scale. Chromatically altered notes may
be within thescale. An example in e minor is c# and d# are within
the ascending melodic minor but NOT part of the keysignature.
Diatonic means using ONLY notes of the scale.
b. A lower auxiliary tone is a nonharmonic tone that occurs a
step below two chord tones of the same pitch(Figure 2-9). Excerpt
from Ralph Vaughan Williams' Folk Song Suite (first movement,
measure 65).
Figure 2-9: Lower Auxiliary Tone.c. The auxiliary tones
illustrated in Figure 2-8 and Figure 2-9 are diatonic. Auxiliary
tones can also be
chromatic. Figure 2-10 illustrates a chromatic upper auxiliary
tone and Figure 2-11 illustrates achromatic lower auxiliary tone.
Excerpt from Peter Tschaikovsky's Overture 1812 (rehearsal number
17).
Figure 2-10: Chromatic Upper Auxiliary Tone.Excerpt from Leroy
Anderson's Sleigh Ride (letter B).
Figure 2-11: Chromatic Lower Auxiliary Tone.NOTE: The auxiliary
tone is one of the easiest nonharmonic tones to identify from a
single melody line. Theauxiliary tone appears in a weak rhythmic
position between two chord tones of the same pitch. John Philip
Sousa'smarch, Washington Post, (pick-up notes to first strain) is
an example of an auxiliary tone occurring in a singlemelody line.
The harmony suggested is the dominant chord in the key of F (Figure
2-12).
Figure 2-12: Auxiliary Tone, Single Melody Line.
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6. Performing Auxiliary Tones. Auxiliary tones function as an
ornament. Auxiliary tones are performed so thatthey embellish the
chord tones. Auxiliary tones supplement, or contribute to, the
chord tone and does NOTreceive any emphasis.
PART C - CHANGING TONES
7. Changing Tones. Changing tones are two nonharmonic tones that
occur between two chord tones in a specificpattern. They can be
diatonic or chromatic. Changing tones add ornamentation to the
melody. The twononharmonic tones approach the second chord tone
from above and below. The first changing tone alwaysoccurs in a
weak rhythmic position. The second changing tone can occur in
either a weak or strong rhythmicposition. Changing tones are also
called double auxiliary tones and double neighboring tones.
a. Changing tones are usually preceded by and followed by the
same note. Gioacchino Rossini's Italian inAlgiers Overture (11
measures after 2) is an example of changing tones (Figure 2
-13).
Figure 2-13: Changing Tones.b. Sometimes the chord tones that
precede and follow the changing tones are different notes separated
by the
interval of a third. The changing tones that occur between these
chord tones are called Nota Cambiata. TheOverture Miniature (21
measures after B) from Peter Tschaikovsky's the Nutcracker Suite is
an example ofNota Cambiata (Figure 2-14).
Figure 2-14: Nota Cambiata.8. Performing Changing tones.
Changing tones and Nota Cambiata function the same as auxiliary
tones. They
simply embellish the chord tone. Perform changing tones as an
ornament and without emphasis.
PART D - ECHAPPEES
9. Echappees. An echappee is a nonharmonic tone that moves from
the first chord tone by step, then leaps (movesby an interval
larger than a second) to the second chord tone. Echappees are also
called escape tones. Theechappee is a note escaping from the
melodic direction of the first chord tone and returning by leap to
thesecond chord tone. The echappee can occur either above or below
the first chord tone. If the echappee occursabove the first chord
tone, it leaps down to the second chord tone. If the echappee
occurs below the first chordtone, it leaps up to the second chord
tone. Ralph Vaughan Williams' Folk Song Suite (trio from the
thirdmovement) illustrates examples of echappees (Figure 2-15).
Figure 2-15: Echappees.
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PART E - CAMBIATAS
10. Cambiatas. A cambiata is a non-chord tone that moves by leap
from the first chord tone then moves by step tothe second chord
tone. The movement of a cambiata is the opposite of the movement of
an echappee. Instead ofescaping from the melodic direction of the
first chord tone, a cambiata moves in the melodic direction and
hasto return by step to the melodic direction of the second chord
tone. Cambiatas can be diatonic or chromatic.Erik Leidzen's
arrangement of Roger's and Hammerstein's Oklahoma (rehearsal number
2) is an example of acambiata (Figure 2-16).
Figure 2-16: Cambiata.NOTE: Do NOT confuse cambiatas with Nota
Cambiatas. A Cambiata is a single nonharmonic tone. A NotaCambiata
is a set of two nonharmonic tones.
11. Performing Echappees and Cambiatas. Echappees and cambiatas
are unique rhythmically weak nonharmonictones. They are the only
rhythmically weak nonharmonic tones that involve a leap in their
approach orresolution. They are also approached and resolved in
different melodic directions. Echappees and cambiatas arethe most
prominent sounding rhythmically weak nonharmonic tones. However,
they are still rhythmically weakand are NOT emphasized or accented
when performed. Although they create melodic interest with leaps,
theyare performed subordinate to the surrounding chord tones.
PART F - ANTICIPATIONS
12. Anticipations. An anticipation is a nonharmonic tone that
occurs stepwise between two chord tones. Theanticipation is the
same note as the second chord tone and becomes a chord tone in the
following chord.Anticipations are usually notes of short duration
that occur before bar lines and cadences. The anticipation
canfollow the first chord tone by step or by leap. Carmen Dragon's
arrangement of America the Beautiful (measure29) is an example of
an anticipation (Figure 2-17).
Figure 2-17: Anticipation.13. Performing Anticipations. An
anticipation is performed with the feeling of arriving at a note
too soon and then
quickly moving to the note of resolution.
PART G-WEAK APPOGGIATURAS
14. Weak Appoggiaturas. A weak appoggiatura is a nonharmonic
tone that occurs between two chord tones. Theweak appoggiatura
follows the first chord tone by a leap and moves to the second
chord tone by step. All threenotes move in the same direction. The
musical functions of weak appoggiaturas and strong appoggiaturas
aredifferent. A weak appoggiatura occurs in a weak rhythmic
position and does NOT have the emphasis of astrong appoggiatura.
John Philip Sousa's march, Fairest of the Fair, (second measure of
the first strain) is anexample of a weak appoggiatura (Figure
2-18).
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Figure 2-18: Weak Appoggiatura.15. Performing Weak
Appoggiaturas. A weak appoggiatura is like a passing tone. The only
difference is that a
weak appoggiatura is approached by leap. Perform a weak
appoggiatura like a passing tone, without emphasis.Although there
is a leap involved, a weak appoggiatura should still be played with
a feeling of smoothness. Theidea is to create a smooth melodic line
with a note missing.
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LESSON 2
PRACTICE EXERCISE
The following items will test your understanding of the material
covered in this lesson. There is only one correctanswer for each
item. When you have completed the exercise, check your answers with
the answer key thatfollows. If you answer any item incorrectly,
review that part of the lesson that contains the part involved.
Figure 1: Question 1.
1. (Refer to Figure 1.) What is the type of nonharmonic tone
found in Figure 1?
A. Accented passing tone
B. Anticipation
C. Changing tone
D. Passing tone
Figure 2: Question 2.
2. (Refer to Figure 2.) What is the B flat in the bass voice
found in Figure 2?
A. Accented passing tone
B. Auxiliary tone
C. Passing tone
D. Pedal tone
3. What is the correct term for nonharmonic tones that occur on
a weak beat or a weak part of the beat?
A. Dissonance
B. Non-accented
C. Rhythmically weak nonharmonic tones
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D. Unaccented nonharmonic tones
Figure 3: Question 4.
4. (Refer to Figure 2.) Which type of nonharmonic tone is
suggested in Figure 2?
A. Anticipation
B. Auxiliary tone
C. Echappee
D. Passing tone
5. Where do passing tones occur?
A. Between chord tones of different pitches
B. Between chord tones of the same pitch
C. Stepwise between chromatically altered notes
D. Stepwise between non-chord tones
6. How do anticipations NOT function?
A. As nonharmonic tones that become chord tones in the following
chord
B. Approached by step or leap
C. Stepwise between two chord tones
D. Usually at cadences
7. How should all unaccented nonharmonic tones should be
performed?
A. Accented
B. Not emphasized
C. Stressed
D. With a slight emphasis
Figure 4: Questions 8 and 9.
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8. (Refer to Figure 3.) The D illustrates which type of
nonharmonic tone?
A. Anticipation
B. Auxiliary tone
C. Echappee
D. Passing tone
9. (Refer to Figure 3.) The D flat illustrates which type of
nonharmonic tone?
A. Anticipation
B. Auxiliary tone
C. Echappee
D. Passing tone
10. How is an echappee approached?
A. By leap and resolved by leap
B. By leap and resolved by step
C. By step and resolved by leap
D. By step and resolved by step
11. The changing tones note of approach and note of resolution
of are usually at what interval?
A. Half step apart
B. Major third
C. Step apart
D. The same pitch
Figure 5: Questions 12 through 16.
12. (Refer to Figure 4.) What is note ten?
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A. Chord tone
B. Nonharmonic tone
C. Chromatic upper auxiliary tone
D. Diatonic
13. (Refer to Figure 4.) Which of the following notes are chord
tones?
A. One, three, six, and ten
B. One, three, seven and twelve
C. One, four, seven, and eleven
D. One, five, eight, and thirteen
14. (Refer to Figure 4.) Which notes are auxiliary tones?
A. Two and six
B. Four and ten
C. Six and nine
D. Nine and twelve
15. (Refer to Figure 4.) Which notes are passing tones?
A. Three and six
B. Four and eight
C. Five and ten
D. Six and twelve
16. When an echappee occurs above the first chord tone, how is
the second chord tone approached?
A. It leaps down
B. It leaps up
C. It moves by half step
D. It moves by step
17. In a Nota Cambiata, what is the interval between the note of
approach and the note of resolution?
A. Fifth
B. Fourth
C. Second
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D. Third
Figure 6: Questions 18 through 20.
18. (Refer to Figure 5.) Which nonharmonic tone is note
four?
A. Anticipation
B. Auxiliary tone
C. Echappee
D. Passing tone
19. (Refer to Figure 5.) Which nonharmonic tone is note six?
A. Auxiliary tone
B. Neighboring tone
C. Passing tone
D. Upper auxiliary tone
20. (Refer to Figure 5.) What notes are passing tones?
A. Two and four
B. Four and seven
C. Six and seven
D. Six and eight
LESSON 2
PRACTICE EXERCISE
ANSWER KEY AND FEEDBACK
Item Correct Answer and Feedback
1. D. Passing tone(Pages 2-2 through 2-4, paragraph 1 and 2)
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2. C. Passing tone(Pages 2-2 through 2-4, paragraph 1 and 2)
3. D. Unaccented nonharmonic tones(Page 2-1, paragraph
Introduction)
4. A. Anticipation(Page 2-9, paragraph 12)
5. A. Between chord tones of different pitches(Page 2-2,
paragraph 1)
6. C. Stepwise between two chord tones(Page 2-9, paragraph
12)
7. B. Not emphasized(Page 2-5 through 2-10, paragraph 4, 6, 8,
11, 13, and 15)
8. B. Auxiliary tone(Page 2-7, paragraph 5c, Note)
9. D. Passing tone(Page 2-3, paragraph 1d)
10. C. By step and resolved by leap(Page 2-8, paragraph 9)
11. D. The same pitch(Page 2-7, paragraph 7a)
12. B. A nonharmonic tone(Page 2-5, paragraph 5)
13. D. One, five, eight, and thirteen(Page 1-1, Lesson One)
14. B. Four and ten
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(Page 2-5, paragraph 5)
15. D. Six and twelve(Page 2-2, paragraph 1)
16. A. It leaps down(Page 2-8, paragraph 9)
17. D. Third(Page 2-8, paragraph 7b)
18. B. Auxiliary tone(Page 2-5, paragraph 5)
19. C. Passing tone(Page 2-2, paragraph 1)
20. C. Six and seven(Page 2-2, paragraph 1)
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LESSON 3RHYTHMICALLY STRONG NONHARMONIC TONES
OVERVIEW
LESSON DESCRIPTION:In this lesson, you will learn to identify
rhythmically strong nonharmonic tones.
TERMINAL LEARNING OBJECTIVE:At the end of this lesson you will
be able to identify rhythmically strong nonharmonic tones.
ACTIONS: You will identify rhythmically strong nonharmonic
tones.
CONDITIONS: Given the information in this lesson.
STANDARDS: IAW with the information given in this lesson.
REFERENCES: The material contained in this lesson was derived
from Training Circulars 12-41 and12-42.
INTRODUCTION
Rhythmically strong nonharmonic tones occur in rhythmically
strong positions. They can occur in places that arenaturally
rhythmically strong or in places that are accented by the use of
dynamics. Rhythmically strongnonharmonic tones are very active.
They have a strong need to be resolved, which also adds motion to
the melody.Rhythmically strong nonharmonic tones add tension as
well as interest and variety to the melody. Rhythmicallyweak
nonharmonic tones only ornament the basic melody, but rhythmically
strong nonharmonic tones are part ofthe basic melody. There are two
types of rhythmically strong nonharmonic tones. The first type are
theappoggiaturas, accented passing tones, and accented auxiliary
tones. These nonharmonic tones create the mosttension in the
melody. The second type of rhythmically strong nonharmonic tones
are the suspensions and pedaltones. This type of nonharmonic tones
includes suspensions, retardations, pedals, inverted pedals, and
internalpedals. These rhythmically strong nonharmonic tones tend to
smooth the flow of the music by clouding the trueharmonic
rhythm.
PART A--APPOGGIATURAS, ACCENTED PASSING TONES, AND
ACCENTEDAUXILIARY TONES
Many music theorists do NOT make a distinction between
appoggiaturas, accented passing tones, and accentedauxiliary tones.
All three of these nonharmonic tones are often called
appoggiaturas. All three nonharmonic tonesfunction the same.
1. Appoggiaturas. The word appoggiatura comes from the Italian
verb appoggiare which means to lean. Theappoggiatura is a leaning
note. Its strong rhythmic position gives the impression it is
leaning toward the note ofresolution. The appoggiatura occurs on
the beat between two chord tones. The appoggiatura leaves the note
ofapproach tone by leap and moves stepwise toward the note of
resolution tone, usually in the opposite directionof the leap. The
appoggiatura can be either diatonic or chromatic. Gioacchino
Rossini's William Tell Overture(measure 4) is an example of a
diatonic appoggiatura (Figure 3-1).
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Figure 3-1: Diatonic Appoggiatura.Gioacchino Rossini's Italian
in Algiers Overture (eight measures after 3) is an example of a
chromatic appoggiatura(Figure 3-2).
Figure 3-2: Chromatic Appoggiatura.NOTE: The note of approach in
Figure 3-2 is a nonharmonic tone and NOT a chord tone. When you
have twoconsecutive nonharmonic tones (with different
classifications) it is called delayed resolution. The
secondnonharmonic tone delays the resolution to the chord tone. In
order to classify the first nonharmonic tone (G), youmust use the
note of approach (A) and the ultimate note of resolution (F).
Therefore, the first nonharmonic tone is apassing tone. The second
nonharmonic tone (E ) uses the first nonharmonic tone (G) as the
note of approach.
a. Prepared appoggiatura. An appoggiatura is less dissonant when
the pitch of the appoggiatura occurs in thechord proceeding the
appoggiatura. When this occurs, the appoggiatura is called a
prepared appoggiatura.Ralph Vaughan Williams' Folk Song Suite
(third measure of the trio in third movement) is an example of
aprepared appoggiatura (Figure 3-3).
Figure 3-3: Prepared Appoggiatura.b. Appoggiatura chord.
Sometimes two or more appoggiaturas occur at the same time and form
a chord that
does NOT belong to the present harmony. The chord that is formed
is called an appoggiatura chord.Gioacchino Rossini's William Tell
Overture (eighteen measures after letter G) is an example of
anappoggiatura chord (Figure 3-4).
Figure 3-4: Appoggiatura Chord.2. Performing appoggiaturas.
Appoggiaturas should always be emphasized. The appoggiatura will be
dissonant,
but perform the note with emphasis.
a. Appoggiaturas are very active notes and should be stressed.
If the dissonance is NOT emphasized, the noteis NOT active.
b. Emphasis is key to playing an appoggiatura. Emphasizing the
dissonance creates a very active note whichhas a strong need to
resolve.
c. Appoggiaturas have a strong need to resolve. They should be
played with a feeling of motion toward thenote of resolution.
3. Accented Passing Tones. An accented passing tone is a
nonharmonic tone that occurs stepwise between twochord tones that
are a third apart. An accented passing tone can be diatonic or
chromatic. An accented passingtone differs from an appoggiatura
tone in the position of the note of preparation (first chord tone).
Figure 3-5 is
-
an example of a diatonic accented passing tone. Excerpt from
Richard Wagner's Elsa's Procession to theCathedral (three measures
after 2).
Figure 3-5: Diatonic Accented Passing Tone.Carmen Dragon's
arrangement of America the Beautiful (measure 32) is an example of
a chromatic accentedpassing tone (Figure 3-6).
Figure 3-6: Chromatic Accented Passing Tone.NOTE: The accented
passing tone in Figure 3-6 occurs on a weak beat but is accented by
the use of the tenuto.
4. Performing accented passing tones. Accented passing tones
should always be emphasized. The accentedpassing tone will be
dissonant, but perform the note with emphasis.
a. Accented passing tones are very active notes and should be
stressed. If the dissonance is NOT emphasized,the note is NOT
active.
b. Emphasis is key to playing an accented passing tone.
Emphasizing the dissonance creates a very activenote which has a
strong need to resolve.
c. Accented passing tones have a strong need to resolve. They
should be played with a feeling of motiontoward the note of
resolution.
5. Accented Auxiliary Tones. An accented auxiliary tone is a
nonharmonic tone that occurs between two chordtones. The accented
auxiliary tone can occur a step above or below the two chord tones.
It usually occurs belowthe two chord tones. The accented auxiliary
tone can be either diatonic or chromatic. Jerry Bilik's
AmericanCivil War Fantasy (two measures after A) is an example of a
diatonic accented auxiliary tone (Figure 3-7).
Figure 3-7: Diatonic Accented Auxiliary Tone.Ralph Vaughan
Williams' Folk Song Suite (second movement) is an example of a
chromatic accented auxiliary tone(Figure 3-8).
Figure 3-8: Chromatic Accented Auxiliary Tone..
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6. Performing accented auxiliary tones. Accented auxiliary tones
should always be emphasized. The accentedauxiliary tone is
dissonant, but perform the note with emphasis.
a. Accented auxiliary tones are very active notes and should be
stressed. If the dissonance is NOTemphasized, the note is NOT
active.
b. Emphasis is key to playing an accented passing tone.
Emphasizing the dissonance creates a very activenote which has a
strong need to resolve.
c. Accented auxiliary tones have a strong need to resolve. They
should be played with a feeling of motiontoward the note of
resolution.
PART B - SUSPENSIONS AND PEDAL TONES
7. Suspensions. A suspension occurs when a note's natural
melodic progression is rhythmically delayed. Asuspension requires
two chords and CANNOT occur over a single chord. A suspension is a
chord tone in thefirst chord that is sustained or repeated in the
same voice and becomes a nonharmonic tone in the second chord.A
suspension is usually the duration of a tied or dotted note value.
The tied or dotted note value delays the notewhile the harmony
changes. The suspension is then resolved by step down to a chord
tone.
a. There are three parts of a suspension; the preparation, the
suspension, and the resolution. The preparation isa chord tone of
the first chord. The suspension is a nonharmonic tone and is the
same pitch as thepreparation. The resolution is a chord tone of the
second chord. The suspension resolves by step down tothe
resolution. Richard Wagner's Elsa's Procession to the Cathedral
(rehearsal number 4) is an example of asuspension (Figure 3-9).
Figure 3-9: Suspension.b. When a suspended note resolves up
instead of down, it is called a retardation. Richard Wagner's
Elsa's
Procession to the Cathedral (six measures after 1) is an example
of a retardation (Figure 3-10).
Figure 3-10: Retardation.8. Performing suspensions. Although
suspensions are rhythmically strong nonharmonic tones, they are NOT
as
dissonant as appoggiaturas.
-
a. Suspensions are basically a continuation of a chord tone of
the first chord. You should have the feeling thatthe chord is held
too long and it becomes dissonant.
b. Perform the suspension with emphasis when it becomes
dissonant. Once the chord tone of the first chord isattacked, it
should remain at least at the same level through the notes
nonharmonic portion. Suspensionsshould NOT be played with any less
emphasis than the surrounding chord tones. In fact, the
suspensionshould increase in intensity at the point where the note
becomes dissonant.
c. The suspension should be resolved smoothly. The intensity
that is created when the note is dissonantshould flow into a
feeling of repose when the note is resolved. A suspension should
have a feeling oftension during the dissonance that is smoothly
resolved to a feeling of relaxation.
9. Pedal Tones. A pedal tone is a nonharmonic tone of a long
duration. A pedal tone normally occurs over three ormore chords. A
pedal tone begins and ends as a chord tone of harmony. A pedal tone
must occur as anonharmonic tone in at least one chord between the
first and last chords. The tonic and dominant scale degreesare the
most commonly used pedal tones. A pedal tone usually occurs in the
bass voice. Richard Wagner'sElsa's Procession to the Cathedral
(rehearsal number 6) is an example of a pedal tone (Figure
3-11).
Figure 3-11: Pedal Tone.
-
a. When a pedal tone occurs in a middle voice, it is called an
internal pedal. Carmen Dragon's America theBeautiful (measure 22)
is an example of an internal pedal (Figure 3-12).
Figure 3-12: Internal Pedal.NOTE: When two pedal tones occur at
the same time, they are called a double pedal (See Figure
3-12).
b. When the pedal tone occurs in the soprano voice, it is called
an inverted pedal. John Barnes Chance'sVariations on a Korean
Folksong (measure 192) is an example of an inverted pedal (Figure
3-13).
Figure 3-13: Inverted Pedal.10. Performing pedal tones. Although
pedal tones are rhythmically strong nonharmonic tones, they are NOT
as
dissonant as appoggiaturas.
a. Pedal tones are basically a continuation of a chord tone of
the first chord.
b. Once the chord tone of the first chord is attacked, it should
remain at the same level through the notesnonharmonic portion.
Perfrom the pedal tone with emphasis when it becomes dissonant.
Pedal tonesshould NOT be played with any less emphasis than the
surrounding chord tones.
c. The pedal tone will automatically resolve when the harmony
changes and the pedal becomes a chord toneagain.
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LESSON 3PRACTICE EXERCISE
The following items will test your understanding of the material
covered in this lesson. There is only one correctanswer for each
item. When you have completed the exercise, check your answers with
the answer key thatfollows. If you answer any item incorrectly,
review that part of the lesson which contains the portion
involved.
1. What statement is NOT correct about rhythmically strong
nonharmonic tones?
A. Are very active
B. Have a strong need to be resolved
C. Occur in rhythmically strong positions
D. Usually non accented
Figure 1: Question 2.
2. (Refer to Figure 1.) What type of nonharmonic tone is
suggested?
A. Inverted pedal
B. Pedal tone
C. Retardation
D. Suspension
3. How many types of rhythmically strong nonharmonic tones are
there?
A. Two
B. Three
C. Four
D. Five
Figure 2: Question 4.
-
4. (Refer to Figure 2.) Which type of nonharmonic tone is
suggested?
A. Auxiliary tone
B. Pedal tone
C. Retardation
D. Suspension
5. Which of the following is a correct statement?
A. Suspensions are NOT as dissonant as appoggiaturas
B. The tonic and subdominant scale degrees are the most commonly
used pedal tones
C. The three parts of a suspension are the preparation, the
suspension, and the regression
D. Suspensions are NOT a continuation of a chord tone
6. What is a suspended note that resolves up named?
A. Retardation
B. Suspension
C. Delayed tone
D. Sustained tone
7. A pedal tone normally occurs over how many chords?
A. One
B. Two
C. Three
D. Four
8. How should you NOT perform an accented auxiliary tone?
A. "Backed off"
B. Emphasized
C. Stressed
D. With motion
9. When does an appoggiatura chord occur?
A. The appoggiatura is a part of the chord
B. The appoggiatura note becomes a chord tone in the following
chord
-
C. The appoggiatura note becomes a chord tone in the preceding
chord
D. Two or more appoggiaturas occur simultaneously to form a
chord that does NOT belong to the presentharmony
10. How does a pedal tone resolve?
A. It becomes a chord tone
B. Smoothly
C. Using contrary motion
D. With less emphasis
11. What is a pedal tone named that occurs in the soprano
voice?
A. Double
B. Inner
C. Internal
D. Inverted
12. A suspension requires how many chords?
A. One
B. Two
C. Three
D. Four
13. Which of the following statements is NOT correct for an
accented auxiliary tone?
A. It is neither diatonic nor chromatic
B. It occurs a step above or below the two chord tones
C. It occurs between two chord tones
D. It usually occurs below the two chord tones
14. How is a suspension resolved?
A. By contrary motion
B. By leap
C. By step
D. By step or leap
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Figure 3: Questions 15 and 16.
15. (Refer to Figure 3.) Which of the notes are nonharmonic
tones?
A. One, three, and six
B. Two, five, and six
C. Three, four, and six
D. Four, six, and seven
16. (Refer to Figure 3.) What nonharmonic tone is note six?
A. Appoggiatura
B. Auxiliary tone
C. Passing tone
D. Pedal
17. What nonharmonic tones should be emphasized when played?
A. Changing tones and echappees
B. Passing tones and Auxiliary tones
C. Rhythmically strong nonharmonic tones
D. Rhythmically weak nonharmonic tones
18. How is an appoggiatura performed?
A. Active
B. Emphasized
C. Harshly
D. Long
19. When does a suspension occur?
A. Over a single chord
-
B. When the harmony does not change
C. When the natural melodic progression has been rhythmically
delayed
D. When the suspension is resolved up by step to a chord
tone
Figure 4: Question 20.
20. (Refer to Figure 4.) What nonharmonic is note five?
A. Passing tone on a strong beat
B. Accented passing tone
C. Accented auxiliary tone
D. Echappee
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LESSON THREE
PRACTICE EXERCISE
ANSWER KEY AND FEEDBACK
Item Correct Answer and Feedback
1. D. Usually non accented(Page 3-2, paragraph Introduction)
2. D. Suspension(Page 3-6, paragraph 7)
3. A. Two(Page 3-2, paragraph Introduction)
4. B. Pedal tone(Page 3-7, paragraph 9)
5. A. Suspensions are NOT as dissonant as appoggiaturas(Pages
3-6 and 3-7, paragraph 8)
6. A. Retardation(Page 3-6, paragraph 7b)
7. C. Three(Page 3-7, paragraph 9)
8. A. "Backed off"(Page s,3-3 through 3-5, paragraph 2, 4, and
6)
9. D. Two or more appoggiaturas occur simultaneously to form a
chord that does NOT belong tothe present harmony(Page 3-3,
paragraph 1b)
10. A. It becomes a chord tone(Page 3-8, paragraph 10b)
-
11. D. Inverted(Page 3-8, paragraph 10c)
12. B. Two(Page 3-6, paragraph 7)
13. A. It is neither diatonic nor chromatic(Page 3-5, paragraph
5)
14. C. By step(Page 3-6, paragraph 7)
15. C. Three, four, and six(Page 1-1, Lesson One)
16. C. Passing tone(Page 3-3, paragraph 3)
17. C. Rhythmically strong nonharmonic tones(Page 3-3 through
3-8, paragraph 2, 4, 6, 8c, and 10c)
18. B. Emphasized(Page 3-3, paragraph 2c)
19. C. When the natural melodic progression has been
rhythmically delayed(Page 3-6, paragraph 7)
20. A. Passing tone on a strong beat(Page 3-4, paragraph 3 and
Lesson Two, paragraph 2)