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A passing tone (PT) or passing note is a nonchord tone prepared by a chord tone a step above or below it and resolved by continuing in the same direction stepwise to the next chord tone (which is either part of the same chord or of the next chord in the harmonic progression).
Changing tones. In music, changing tones (also called double neighboring tones and neighbor group) consists of two consecutive non-chord tones. [1] [2] The first moves in one direction by a step from a chord tone, then skips by a third in the opposite direction to another non-chord tone, and then finally resolves back to the original chord tone.
Schenkerian analysis is a method of analyzing tonal music based on the theories of Heinrich Schenker (1868–1935). The goal is to demonstrate the organic coherence of the work by showing how the "foreground" (all notes in the score) relates to an abstracted deep structure, the Ursatz.
Cover tone (German: Deckton) "A tone of the inner voice which appears above the foreground diminution". [ 3 ] It often results from an ascending register transfer or coupling, but "the main thread of melodic activity remains with the displaced voice while the voice that does the displacing functions as a 'cover'".
Example of a double passing tone in which the two middle notes are a dissonant interval from the cantus firmus, a fourth and a diminished fifth Example of a descending double neighbor figure against a cantus firmus Example of an ascending double neighbor figure (with an interesting tritone leap at the end) against a cantus firmus
In accordance with the arpeggiation from which it stems, the fundamental line exhibits the space of a third, fifth, or octave. These spaces are filled by passing tones. [1] The primary tone therefore necessarily is one of the higher tones of the tonic chord, , or . The fundamental line descends from its primary tone to the tonic, :
The added passing tone creates an eight-note scale that fits rhythmically evenly within a 4 4 measure of 8 eighth notes, thus making it useful in practicing. When an eighth note bebop scale run starts on the beat from a chord tone (i.e. the root , third , fifth or seventh ) the other chord notes will also fall on the beat.
In measure 13 of the ballad, there is a lower-neighbor (F) that prolongs the G-flat; in Barber's movement, the G-flat (m. 7) is simply repeated without the neighbor. The F in bar 13 of the “Streets of Laredo” tune is not as significant as other tones in the melody because of its treatment as a non-chord tone.