MU Volume 2 - Section 1 - Non-Harmonic Tones (Ch 1) Flashcards
1. Non-harmonic Tones, 2. Secondary Dominants and Borrowed Chords, 3. Extended and Altered Chords, 4. Neapolitan and Augmented 6th Chords
Describe what tensions are in the context of music theory and harmony.
Tensions are nonharmonic (or non-chord) tones that include the intervals of a 7th, 9th, 11th, and 13th above the root of a chord, defined in two types, melodic and harmonic.
How are melodic tensions defined in the context of music theory?
Melodic Tensions are non-chord tones found in the melody line that consist of notes longer than a beat in duration or notes of any duration followed by a leap and not part of a delayed resolution.
Define harmonic tensions in the context of music theory and harmony.
Harmonic Tensions are non-chord tones used in conjunction with the vertical structure of a chord, where the duration of the tension should mirror the melody and follow appropriate voicing rules.
What is the naming convention for identifying or analyzing tensions in music theory?
Use the letter ‘T’ along with the interval number and any designated chromatic alteration (e.g. T9, T11, and T13). TM7 identifies those tensions which are a Major 7th above the root.
Describe the two different forms of tensions in music theory.
Melodic tensions and harmonic tensions, with the former found in the melody line or lead voice and the latter used in conjunction with the vertical structure of a chord.
Define the concept of melodic tensions in relation to triads and sixth chords.
Melodic tensions can use the 7th and 6th as passing tones in an independent melody line against a sustained triad or sixth chord.
How does the inclusion of the 7th and 6th change a triad chord?
When the 7th and 6th are included in the harmonic voicing, the chord changes from a triad chord to a 4-note chord.
Do the 7th and TM7 serve different functions in relation to sixth chords?
Yes, the 7th is usually identified as a harmonic tension within the sixth chord, while the TM7 can also be used as a melodic tension over a sixth chord.
Describe the concept of available tensions in relation to chord tones.
Available tensions are notes that are a whole step above a chord tone and can be used to create tension, while notes that are a half-step above a chord tone generally cannot.
Define the available tensions for major triads when diatonic to the key.
For major and major 6th triads, the available tensions include T9 or T♯11 when diatonic to the key, and T13 for major and TM7 as part of an independent melodic tension in both.
How are available tensions for minor triads different from major triads?
For minor triads, the available tensions include T9, T11 then T6, TM7, and T7 as part of an independent melodic tension, and T13 is available when the scale of the moment is Dorian or Jazz Minor.
Describe the available tensions for major 6th chords.
T9, T♯11 (when diatonic to the key), TM7 (as part of an independent melodic tension).
Define the available tensions for minor 6th chords.
T9, T11, TM7 (as part of an independent melodic tension).
What are the available tensions for major 7th chords?
T9, T13, T♯11 (when diatonic to the key).
What are the available tensions for an Augmented-Major 7th chord?
T9, T♯11
What are the available tensions for a Minor 7th chord?
T11, T9 (when diatonic to the key), T13 (only when in Dorian mode)
Describe the available tensions for a minor 7th (♭5) chord.
The available tensions for a minor 7th (♭5) chord include T11, T♭13, and T9 when diatonic to the key.
What are the available tensions for a dominant 7th chord?
The available tensions for a dominant 7th chord are T♭9, T9, T♯9, T♯11, T♭13, and T13, with T♭5 considered a tension when not already identified as a chord tone by a chord symbol.
How should available tensions be chosen within dominant 7th chords?
Careful consideration must be taken when choosing available tensions within dominant 7th chords to ensure the integrity of the harmonic function and stylistic content is maintained.
Describe the available tensions for an augmented 7th chord.
The available tensions for an augmented 7th chord are T9 and T♯11.
How are tensions labeled in a diminished 7th chord?
Tensions are not numerically labeled in the diminished 7th chord because each available tension creates the same sets of intervals with the chord tones.
What are the available tensions for a Dominant 7th (sus4) and what is the avoid tone associated with this type of chord?
T9, T13. Unless indicated as sus4, the unaltered 4th is often considered an avoid tone on major and dominant chords.
Describe the factors that determine the available tensions in a diminished 7th chord.
The tensions available in a diminished 7th chord depend on the chord scale used, as well as the context of how it is being used. They are simply labeled “T”.
What are the exceptions for considering a note as an available tension when it is a whole step above a chord tone?
Exceptions include T13 for minor 7th chords with tonic or subdominant function, and T9 for III-7 chords. T♯11 is an exception for IMaj7 unless used as an ending chord with a specific dramatic outcome.
Explain when a note that is a half-step above a chord tone is considered an available tension.
A note that is a half-step above a chord tone is not normally considered an available tension, except in cases like T♭9 for Dominant 7th (♭9) chord and T♭13 for Dominant 7th (♭13) chord.
How does the mode influence the availability of tensions in relation to chord tones?
The mode allows for certain tensions, such as T♭13 in Aeolian, and T♭9 and T♭13 in Phrygian, as they are diatonic to the current mode.
Describe neighboring tones in music theory.
Neighboring tones are non-chord tones that embellish single tones chromatically or diatonically a step above or below the preceding chord tone, and must return immediately to the tone they came from.
AKA Upper neighbors or Lower neighbors
What is an appoggiatura in music theory?
An appoggiatura is a non-chord tone that is approached by a leap and moves to a chord tone by a step diatonically or chromatically in the opposite direction.
AKA an incomplete neighbor.
Describe an escape tone in music theory.
An escape tone is a non-chord tone that is approached by a step and moves to a chord tone by a leap in the opposite direction.
Define neighbor group (NG) in music theory.
Two consecutive non-chord tones that embellish a chord tone through its upper and lower neighbor tones.
AKA Cambiata or Changing Tones
How do anticipations function in music theory?
Anticipations rhythmically anticipate a chord change that has not been reached and may be approached by a step or leap. They are chord tones of the upcoming chord.
Define the 3 elements of a suspension in music theory.
Preparation (preceding tone, same pitch as the suspension, always a chord tone), suspension (the tone suspending the chord), and resolution (the resolving tone, always a chord tone a 2nd below the suspension).
Define bass suspension.
A bass suspension, also known as a 2-3 sus, occurs when the bass contains the suspension, and the suspension is typically a 2nd interval.
Define Suspension with Change of Bass
An otherwise conventional suspension where the bass moves in resolution. The name is calculated the same (interval above the written bass note).
Describe an embellished suspension.
Embellished suspensions involve other tones appearing after the suspension and before the resolution, which may include chord tones or nonharmonic tones.
What is the resolution for a retardation in music theory?
A retardation resolves up to a chord tone a 2nd above the retardation, unlike suspensions which resolve down.
Define the term ‘retardation’ in the context of music theory.
A retardation is a type of suspension that holds on to a chord after other voices have moved on to another chord, following similar rules as suspensions but resolving up to a chord tone a 2nd above.
Describe a pedal point in music theory.
A sustained tone occurring over three or more chords, beginning and ending as a chord tone, and usually found in the bass voice.
What is a Double Pedal Point?
Two pedal points occuring in two voices, usually the bass and one other.
