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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.
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 analyses, this is represented by two crossing lines with double arrowheads indicating the exchanged pitches. A common exchange of this sort involves a progression of a third using a passing tone, the exchange notated by the interval succession 10-8-6 (if this is with the bass, the third chord is a first inversion of the first).
Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. [1]
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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'".
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, :