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A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord.
Example of a double passing tone in which the two middle notes are a dissonant interval from the cantus firmus, a fourth and a diminished fifth Example of a descending double neighbor figure against a cantus firmus Example of an ascending double neighbor figure (with an interesting tritone leap at the end) against a cantus firmus
the use of non-tonal chords as tonic "keys"/"scales"/"areas" such as the Tristan chord. As tonal harmony continued to widen and even break down, the chromatic scale became the basis of modern music written using the twelve-tone technique, a tone row being a specific ordering or series of the chromatic scale, and later serialism. Though these ...
Cambiata, or nota cambiata (Italian for changed note), has a number of different and related meanings in music.Generally it refers to a pattern in a homophonic or polyphonic (and usually contrapuntal) setting of a melody where a note is skipped from (typically by an interval of a third) in one direction (either going up or down in pitch) followed by the note skipped to, and then by motion in ...
The second aspect is, that chord syntax provides norms for altering chords by additional tones. One example is the addition of a fourth tone to a triad, which is the seventh tone of the scale (e.g. in a C-major scale the addition of F to the triad G-B-D would lead to a so-called "dominant seventh chord"). Concerning norms for the progression of ...
According to Allan Moore, [20] "part of the heritage of rock lies within common-practice tonality" [21] but, because the leading-note / tonic relationship is "axiomatic to the definition of common-practice tonality", and a fundamental feature of rock music's identity is the absence of a diatonic leading tone, the harmonic practices of rock ...
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.
The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction.