MELODY AND NON-CHORDAL TONES - page !

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ACCENTED NON-CHORDAL TONES

Suspensions
A suspension holds on to, or suspends a chord tone in the melody after the harmony
below the melody has shifted to the next chord. A suspension is prepared as a chord tone
and is then suspended (may be tied or just repeated). The suspension resolves by falling
a 2nd to a basic chord tone on a weak beat.
Example 1

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Retardations
A retardation is a suspension with an upward resolution.
Example 2

Appoggiaturas (Unprepared Approach Notes)

The appoggiatura is an unprepared suspension or retardation. The appoggiatura is an
accented approach note that is preceded by a leap, a rest, or may occur at the beginning of
a melody or melodic phrase. Appoggiaturas usually resolve downward. When they
resolve upwards, chromaticism is usually found.
Example 3

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Jazz Theory 315 - MELODY AND NON-CHORDAL TONES - page !2

UNACCENTED NON-CHORDAL TONES

Passing Tones
A passing tone is a non-chordal tone that is used stepwise to fill in the gaps between
two chord tones. It may connect chord tones of the same chord, of two different chords,
or lead to an appoggiatura or an unresolved tension.
A passing tone is usually found on a weak rhythmic placement between two chordal
tones a 3rd apart (see below) and it can be diatonic (DPT) or chromatic (CPT) to the
scale.
Example 4

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Accented Passing Tones
Accented passing tones fall on strong parts of the beat. If they are exposed or of longer
values, they may be treated as appoggiaturas when harmonizing.
Example 5

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Auxiliary Tones (Neighbour Tones)
An auxiliary tone is used on a weak beat between a chord tone and its repetition. An
upper auxiliary is normally diatonic. A lower auxiliary may be a scale step below but
is more often a semitone below even if a chromatic accidental is required. It may
decorate another non-chord tone or an unresolved tension and it may be used between
changing harmonies.
Example 6

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Turns
A turn is a five note figure that includes both upper and lower auxiliaries. These non
-chordal tones are normally found in a weak rhythmic placement.
Example 7

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Double Auxiliary
This figure uses both an upper and a lower auxiliary between the repeated pitch.
Sometimes referred to as an indirect resolution.
Example 8

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Incomplete Neighbour Tone
This non-chordal tone resolves like an auxiliary but is approached by a leap and left by
step. It can be thought of as an unaccented appoggiatura. Also referred to as an
unprepared auxiliary or free neighbour.
Example 9

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Anticipations
Traditionally, a melodic anticipation is unaccented, anticipates a chord tone, and is
usually shorter than its target. It is typically a cadential idiom.
In the rhythmic rephrasing of melodies (especially in jazz) a rhythmic anticipation is
not a distinct non-chordal tone but usually a chordal tone or an unresolved tension note
that is begun shortly before the harmony to which it is related.
Example 10