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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.
An appoggiatura (/ ə ˌ p ɒ dʒ ə ˈ tj ʊər ə / ə-POJ-ə-TURE-ə, Italian: [appoddʒaˈtuːra]; German: Vorschlag or Vorhalt; French: port de voix) is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord.
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, :
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.
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Vocal pedagogists teach that, with study, a singer can move effortlessly from one register to another with ease and consistent tone. Registers can even overlap while singing. Teachers who prefer the theory of "blending registers" usually help students through the "passage" from one register to another by hiding their "lift" (where the voice ...
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'".