FUNDAMENTAL HARMONY

Dr. Declan PlummerLesson 7: Non-Harmony Notes & Extended Diatonic Chords

Non-Harmony Notes1. Non-Harmony notes are pitches that are not contained within

the chord. They decorate the music by providing it with more expression flavour and rhythmic interest.

2. There are many different types of non-harmony notes:

• Passing Notes• Neighbour Notes• Appoggiaturas

• Escape Notes

• Anticipation Notes

3. Non-Harmony notes can occur in any voice and can be unaccented (off beat) or accented (on the beat).

• Neighbour Groups

• Suspensions

• Retardations

• Pedal Points

Passing Notes1. A passing note ‘fills in’ the gap between two harmony notes, usually

a 3rd apart. It can move up or down, but must always move by step.

2. If the interval is more than a 3rd then several passing notes can be used together. And if the interval is only a 2nd then chromatic passing note can be used.

Unaccented Passing Note Accented Passing Note

Unaccented Passing Notes Chromatic Passing Note

p p

pp

3. In minor keys, the melodic minor scale is used to avoid the awkward augmented 2nd between the 6th and 7th degrees that would otherwise occur:

Unaccented Passing Notes

Unaccented Passing Notes

Augmented 2nd

Major 2nd

4. When inserting passing notes into your music, be careful that they don’t introduce a mistake in a progression which otherwise is good.

Consecutive Perfect 5ths

5. Passing notes can occur together moving in the same direction (usually a 3rd or 6th apart):

6. Passing notes in the Soprano and Bass usually move in contrary motion.

Neighbour Notes1. A neighbour note is similar to a passing note in that it also follows a

harmony note by step (either moving up or down), but it must then go back to the same harmony note.

Unaccented Upper Neighbour Note

Accented Upper Neighbour Note

Unaccented Lower Neighbour Note

Accented Lower Neighbour Note

n n

nn

2. Again, in minor keys, the melodic minor scale is used to avoid an awkward augmented 2nd between the 6th and 7th degrees.

3. When the 7th degree doesn’t lead to the 8th (1st) degree, the flattened forms of the 6th and 7th degrees are used:

Passing Notes & Neighbour Notes

1. Passing Notes and Neighbour Notes can be combined to create more elaborate melodies and rhythmic interest.

Other Non-Harmony NotesThere are other unaccented and accented non-harmony notes:

Changing Notes

(Escape)

Anticipation

Approached by a stepLeft by a leap in opposite direction

Approached by a step or leapLeft by same note

e

ant

Neighbour Group

Approached by a step thenLeap of a 3rdLeft by a step in opposite direction

ng

opposite is a cambiata changing note (approached by leap left by step)

Suspension

Retardation

Pedal Point

Approached by same noteLeft by a step down

Approached by same noteLeft by a step up

Approached by same noteLeft by a same note

ped

s

r

AppoggiaturaApproached by a leap or stepLeft by a step

app

Resolution of Non-Harmony Notes• Major or Minor 3rds and 6ths are consonant intervals that, being

harmonious, may sound in succession in any order or in connection with other intervals.

• Perfect Unison, 5ths or 8ves sound bare or empty due to the lack of a 3rd. Similar perfect intervals must not occur in succession between any two parts (i.e. avoid consecutive and hidden 5ths and 8ves).

Resolution of Non-Harmony Notes• Major or Minor 2nds and 7ths and Perfect 4ths are dissonant and so

must resolve to an octave, unison or a consonant interval (3rd or 6th).

• Tritones resolve to a 6th (from an augmented 4th) or to a 3rd (from a diminished 5th).

Resolution of Non-Harmony Notes

• Diminished 7th are dissonant and are mostly likely found in a diminished 7th chord. The interval should resolve to a perfect 5th.

• Augmented 2nd is just too dissonant and generally to be avoided. When using an unaccented harmony note, take note of all intervals formed between the note and the harmony notes found in other parts.. Ensure any dissonances are resolved. Otherwise omit the note!

Resolution of Non-Harmony Notes

Correct2nd moves to a 3rd7th moves to a 5th

PoorDim 5th is unresolved

GoodDim 5th moves

to a 3rd

When using an accented harmony note, the notes usually resolved by step upwards or downwards. When using such a note, make sure that the resolution is not doubled in another part, except in the bass.

Resolution of Non-Harmony Notes Further Extension of the TriadIn addition to the 7th, further extensions can be made to the triad by inserting a 9th, 11th or 13th from the root (usually of the dominant V)

It may not be possible for all notes of the chord to be included, due to limited parts (like SATB) or because the demands of good voice-leading make it too awkward. Even 7th chords may lack a 3rd or 5th, although the 5th is usually the note that’s omitted:

Further Extension of the Triad

Both V9 and V13 resolve to I, but V11 usually progresses to another dominant chord (i.e. V or V9 or V13) before resolving to I.

The dominant minor 9th is a chromatic chord in a major key, but it’s a diatonic chord in a minor key

c:c:

Further Extension of the Triad

• The 7th and 9th normally resolve down

• When not used as an appoggiatura the 11th usually remains on the same note, the tonic.

• When not used as an appoggiatura the 13th normally falls a 3rd.

Further Extension of the TriadVery often, what may appear to be a 9th, 11th or 13th chord is nothing more than the result of adding non-harmony notes to simpler versions of the same chord (even for dominant chords):

I6 V7 vi I6 V7 vi IV V9 8 I

app

not V9 not V11 not V13

sus

4 3

app

sus

Further Extension of the TriadHowever, sometimes it is more logical to describe the chords extensions

not iii6

vi ii V13 I 65

not iii6

vi7 V /V V I 97

131197

very rare

0:24

End

Further Extension of the Triad

V7/V V i97

V V7 V viiO /V V97

7

4:23

3:33