AP Music Theory Mr. Silvagni

Slides:



Advertisements
Similar presentations
Terms By: Katie Romano. A Ambit- the range of pitches Arch-form- symmetric in time & climaxes in the middle Attack- initial growth of sound Avant-garde-
Advertisements

Harmonic Progressions By Wally Furrer. Chord Progressions The best way to study harmonic progression is to consider progressions in groups according to.
Diatonic Chords in Major and Minor Keys
The 6/4 and Other Linear Chords
C HAPTER 10 The Dominant Seventh Chord Embellishing the Tonic Harmony.
AP MUSIC THEORY MR. JACKSON UNIT 11: SECONDARY DOMINANTS.
Mr. Jackson AP Music Theory.  A cadence is the harmonic, melodic, and rhythmic conclusion to a phrase. It also helps to establish the tonal center. It.
THE TONIC AND SUBDOMINANT TRIADS IN FIRST INVERSION The I 6 and IV 6 as Embellishing Chords Chapter 11.
Mr. Jackson AP Music Theory.  Non-chord tones (or non-harmonic tones) are notes that “don’t belong” in a particular chord, creating a temporary “dissonance”
Chapter 14 The Pre-dominant II and II 7 Chords. The Supertonic Family Major mode : supertonic sounds minor and its seventh chords is a minor seventh (m7)
What is music? Music is the deliberate organization of sounds by people for other people to hear.
Cadential or Harmonic Prolongation via expansion 2 Basic Phrase Shapes: I-V (half cadence) I-V (7) -I (authentic/full) I- IV- V-
Music and MATLAB Arianne Ferare employ a random walk to generate a musical melody harmonize the melody with randomly generated yet appropriate chords and.
Compositional Language(s) Instructor: Prof. SIGMAN Tuesday 13:00-15:00 Lecture IV.
Voice Leading in Four-Part Chorale Writing
MUSIC THEORY September 7, Opening Assignment  On staff paper, draw the following key signatures  Treble Clef A Major A-flat Major B Major  Bass.
 Music Sharing!  Review: Common Harmonies: MAJOR  Review: Common Harmonies: MINOR  Review: Broken Chords & Arpeggios  Review: Cadences  New: Passing.
SCALES and ORNAMENTS ~ Higher Level~ Moffat Academy ~ Music Department.
 Music Sharing!  Review: Common Harmonies: MAJOR  Review: Broken Chords & Arpeggios  New: Common Harmonies: MINOR  New: Cadences  New: Passing Tones.
Music Theory Cadences - Chapter 5 Definitions  Phrase A substantial musical thought, which ends with a punctuation called a cadence A substantial musical.
Embellishing Tones. Important Notes vs. Pretty Notes Embellishing tones may or may not be chord tones Embellishing tones contribute to the forward motion.
NCVPS AP Music Theory Presentation by Dr. Tom Moncrief Types of Non-Chord Tones.
Mr. Jackson AP Music Theory
AP Music Theory Chapter 2. Scales A collection of pitches in ascending and descending order.
Cadences and Nonharmonic Tones Chapter 5. Harmonic Cadence The end of a musical phrase Can be compared to punctuation 5 types.
The Leading-tone Seventh Chord
Key Relationships AP MUSIC THEORY 2014.
Compositional Language(s) Instructor: Prof. SIGMAN Tuesday 13:00-15:00 Lecture III.
FLASH CARDS 3 or more notes which create harmony when played together Click for Term.
Harmony Music is harmony, harmony is perfection, perfection is our dream, and our dream is heaven. - Henri Frederic Amiel.
Non Chord Tones A note that is either diatonic or chromatic that is not a member of the chord. The note can be an NCT of its duration or it could become.
Part Writing and Voice Leading THE #1 THING YOU’VE ALWAYS WANTED TO DO ON A TUESDAY.
Non-Chord Tones Musical Adjectives. Definition of NCT  A tone, either diatonic or chromatic, that is not a member of the chord  NCT’s are classified.
Cadences and Nonharmonic Tones
AP Music Theory Mr. Silvagni
AP Music Theory Mr. Silvagni
AP Music Theory Mr. Silvagni
AP Music Theory Mr. Silvagni
Unit 1: Basic Concepts Review
Cadences and Non-Chord Tones
Harmony.
Diatonic Triads and 7th Chords
Chapter 16 Secondary Functions 1.
AP Music Theory Mr. Silvagni
Chapter 19 Notes Intensifying the Dominant
AP Music Theory Mr. Silvagni
Secondary Dominants Chapter 20.
AP Music Theory Mr. Silvagni
Unit 2: Melodic analysis (part 1)
AP Music Theory Mr. Silvagni
AP Music Theory Mr. Silvagni
Harmonic Expansions G. DeBenedetti
Chorale Harmonization and Figured Bass
Intervals in Action (Two-Voice Composition)
Harmonic Progressions
Non-Harmonic Non-Chord Tones.
Non Chord Tones A note that is either diatonic or chromatic that is not a member of the chord. The note can be an NCT of its duration or it could become.
Harmonic Expansions G. DeBenedetti
Vocabulary. Vocabulary SATB Style Notation Range Spacing Voice Crossing Doubling.
AP Music Theory Mr. Silvagni
Pitch Class Collection
Wade In The Water Learn in all positions.
Harmonic Expansions G. DeBenedetti
Harmonic Expansions G. DeBenedetti
SUSPENSIONS CHAPTER 9.
Chapter 13 Embellishing Tones.
The Interaction of Melody and Harmony
Non Chord Tones - Nonharmonic Tones
a grammar checker for music compositions in the style of Palestrina
Bass Lines and Harmonic Structure
Presentation transcript:

AP Music Theory Mr. Silvagni Non-chord Tones AP Music Theory Mr. Silvagni

Non-chord tones Non-chord tones (non-harmonic tones) are parts of a melody that are not part of the harmony They can be found in any voice and are used to embellish the music They may be accented (on a downbeat) or unaccented (on an upbeat) Three parts: Preparation (note before), NCT, resolution (note after)

Passing Tones Passing tone (PT) is approached and left by step in the same direction (i.e. C – D – E or E – D – C) Can be accented or unaccented Can be diatonic (part of the scale) or chromatic (non-diatonic, specifically in half steps [C – C# - D])

Neighbor Tones Neighbor tone (NT) is approached by step and left by step back to the original note (i.e. C – B – C or C – D – C) Can be accented or unaccented Can be diatonic or chromatic (again specifically half step) Incomplete neighbor or cambiata – approached by leap and resolved by step in opposite direction in “weak rhythmic position” Neighbor group or changing tone – two consecutive NCTs above and below original note (i.e. C – D – B – C)

Other NCTs Appoggiatura (App) – a specific incomplete neighbor that is approached by leap up and resolved by step down It is only accented…may sound like a suspension Escape tone or échappée (ET) – a specific incomplete neighbor that is approached by step and resolved by leap in the opposite direction It is only unaccented Anticipation (Ant) – approached by step and resolved with the same note The Ant. must not be part of the previous chord but must be part of the next chord

Suspensions and Retardations Suspension (Sus) – approached by the same note and resolves by step down A note in the preparation chord is held over and becomes a NCT, which is then resolved by step into a chord tone Suspensions are labeled by their intervallic relationship from the bass note (i.e. 9-8, 7-6, 4-3) They may be connected by a tie…if not, they are rearticulated suspensions Retardation (Ret) – approached by same note and resolves by step up Not very common, suspension with upward resolution