No-Harmoy Notes GRADE 6 MUSIC THEORY Dr. Decla Plummer Lesso 3: No-Harmoy Notes 1. No-Harmoy otes are itches that are ot cotaied withi the chord. They decorate the music by rovidig it with more exressio flavour ad rhythmic iterest. 2. There are may differet tyes of o-harmoy otes: Passig Notes s Aoggiaturas Escae Notes Aticiatio Notes Neighbour Grous Susesios Retardatios Pedal Poits 3. No-Harmoy otes ca occur i ay voice ad ca be uacceted (off beat) or acceted (o the beat). Passig Notes 1. A assig ote fills i the ga betwee two harmoy otes, usually a 3rd aart. It ca move u or dow, but must always move by ste. 3. I mior keys, the melodic mior scale is used to avoid the awkward augmeted 2d betwee the 6th ad 7th degrees that would otherwise occur: Augmeted 2d Uacceted Passig Note Acceted Passig Note 2. If the iterval is more tha a 3rd the several assig otes ca be used together. Ad if the iterval is oly a 2d the chromatic assig ote ca be used. Major 2d Chromatic Passig Note
4. Whe isertig assig otes ito your music, be careful that they do t itroduce a mistake i a rogressio which otherwise is good. Cosecutive Perfect 5ths s 1. A eighbour ote is similar to a assig ote i that it also follows a harmoy ote by ste (either movig u or dow), but it must the go back to the same harmoy ote. 5. Passig otes ca occur together movig i the same directio (usually a 3rd or 6th aart): Uacceted Uer Acceted Uer 6. Passig otes i the Sorao ad Bass usually move i cotrary motio. Uacceted Lower Acceted Lower 2. Agai, i mior keys, the melodic mior scale is used to avoid a awkward augmeted 2d betwee the 6th ad 7th degrees. Passig Notes & s Passig Notes ad s ca be combied to create more elaborate melodies ad rhythmic iterest. 3. Whe the 7th degree does t lead to the 8th (1st) degree, the flatteed forms of the 6th ad 7th degrees are used:
Other No-Harmoy Notes There are other uacceted ad acceted o-harmoy otes: Aoggiatura a Aroached by a lea or ste Left by a ste Neighbour Grou g Aroached by a ste the Lea of a 3rd Left by a ste i oosite directio Susesio s Aroached by same ote Left by a ste dow Chagig Notes (Escae) Aticiatio e at Aroached by a ste Left by a lea i oosite directio oosite is a cambiata chagig ote (aroached by lea left by ste) Aroached by a ste or lea Left by same ote Retardatio Pedal Poit r ed Aroached by same ote Left by a ste u Aroached by same ote Left by a same ote
Resolutio of No-Harmoy Notes Major or Mior 3rds ad 6ths are cosoat itervals that, beig harmoious, may soud i successio i ay order or i coectio with other itervals. Resolutio of No-Harmoy Notes Major or Mior 2ds ad 7ths ad Perfect 4ths are dissoat ad so must resolve to a octave, uiso or a cosoat iterval (3rd or 6th). Perfect Uiso, 5ths or 8ves soud bare or emty due to the lack of a 3rd. Similar erfect itervals must ot occur i successio betwee ay two arts (i.e. avoid cosecutive ad hidde 5ths ad 8ves). Tritoes resolve to a 6th (from a augmeted 4th) or to a 3rd (from a dimiished 5th). Resolutio of No-Harmoy Notes Augmeted 2d is just too dissoat ad geerally to be avoided. Dimiished 7th are dissoat ad are mostly likely foud i a dimiished 7th chord. The iterval should resolve to a erfect 5th. Resolutio of No-Harmoy Notes Whe usig a uacceted harmoy ote, take ote of all itervals formed betwee the ote ad the harmoy otes foud i other arts.. Esure ay dissoaces are resolved. Otherwise omit the ote! Correct 2d moves to a 3rd 7th moves to a 5th Poor Dim 5th is uresolved Good Dim 5th moves to a 3rd
Resolutio of No-Harmoy Notes Whe usig a acceted harmoy ote, the otes usually resolved by ste uwards or dowwards. Whe usig such a ote, make sure that the resolutio is ot doubled i aother art, excet i the bass.