Chapter 13 Embellishing Tones

Here is a secret… …you had most of this information before in two voices, we are now applying to to 4 voices.

List of Embellishing Tones Passing Tones Neighbor Tones (upper and lower) Double Neighbor Tones Incomplete Neighbor Tones

Embellishing Tones in 3 or 4 Voices Same rules apply as it does for 2 parts/voices. Embellishing tones can be added to any voice.

Neighbor Tone Examples NEIGHBOR TONE IN THE ALTO VOICE NEIGHBOR TONE IN THE SOPRANO VOICE NEIGHBOR TONE IN THE TENOR VOICE NEIGHBOR TONE IN THE BASS VOICE

Passing Tone Examples PASSING TONE IN THE ALTO VOICE PASSING TONE IN THE SOPRANO VOICE PASSING TONE IN THE ALTO VOICE PASSING TONE IN THE TENOR VOICE PASSING TONE IN BASS VOICE

Your Turn to Try In the book packet: page 135; II. Writing Embellishing Tones; Letters A, B, and C.

Key Concept - Suspensions When writing a suspension in a piece with three or more voices, it helps if you plan the doubling in the chord of resolution first. Make sure that the chord with the dissonant suspension does not also include the suspension’s tone of resolution-EXCEPT in a 9-8 suspension when the resolution tone is in the bass. Key Concept - page 226

Suspension in 4 Voices Same as suspension in 2 voices Most common: 9-8 7-6 4-3

4-3 Suspension Notice: The resolution (the B in the treble clef) is NOT doubled anywhere else in the triad. This follows the key concept rule from page 226.

This follows the key concept rule from page 226. 7-6 Suspension Notice: The resolution to the suspension (F# in the soprano) is not in the triad until the resolution. This follows the key concept rule from page 226.

9-8 Suspension Notice: In a 9-8 suspension, the resolution pitch (A in the Soprano above) is already in the bass. This is the exception to the rule. This follows the key concept rule from page 226.

Other 4 Part Suspension Examples

Key Concept - Suspensions When writing a suspension in a piece with three or more voices, it helps if you plan the doubling in the chord of resolution first. Make sure that the chord with the dissonant suspension does not also include the suspension’s tone of resolution-EXCEPT in a 9-8 suspension when the resolution tone is in the bass. Key Concept - page 226

Key Concept - Embellished Suspensions When we embellish suspensions, we decorate the dissonant suspended tone rather than the tone of resolution. Key Concept - page 229

Writing a Suspension Plan for the doubling first Make sure your suspension does not double an already existing triad/chord tone (9-8 suspension is the exception) Make sure the suspension resolves down by step

Anticipations Anticipation are very similar to suspensions, but they come BEFORE the triad/chord resolution, not after.

Notice, how the anticipated note can be double! Anticipation Example Notice, how the anticipated note can be double!

…MATURITY for the next topic! Wanted… …MATURITY for the next topic! Reward = 1. Less stressful class for all! 2. Time to start homework. 3. EDUCATION!!

Key Concept - Retardation A retardation, like a dissonant suspension, begins with a consonance that is held over - tied or rearticulated - to the next beat to make a dissonance. It then resolves up by step. The most common dissonant retardation is made of intervals 7-8, with scale-degrees 7 and 8 above the tonic pitch in the bass. Key Concept - page 229

Retardation - Simply Stated Simply stated a retardation is the same as a suspension, but it resolves UP not down.

Retardation Example 7-8 Retardation

Retardation Example 7-8 Retardation

Retardation Example 2-3 Retardation

Pedal Point A note held for several measures while harmonies change above it.

Pedal Point Example

Pedal Point Example