Nonchord tone

Music has many notes. Some notes fit a group. These are chord tones. Other notes do not fit. They are called nonchord tones.

These notes add a new feel. They can sound a bit sharp. This is called dissonance. The notes often move to a chord tone. This makes the music feel right again.

A neighbor tone moves up or down. Then it moves back to the first note. A passing tone moves between two notes. It fills the space in between.

Some notes are held too long. This can happen when chords change. This is called a suspension. It can sound very pretty.

A pedal point is a long note. It stays the same while other notes change. It is often the lowest note.

These notes make songs special. They add color to the sound.

Music is made of many notes. Some notes belong to a chord. These are chord tones. Other notes do not belong. We call these nonchord tones.

Nonchord tones add interest to a song. They often sound sharp or tense. This feeling is called dissonance. Most of these notes move to a chord tone to feel smooth again. This move is called a resolution.

There are many ways to use these notes. A neighbor tone moves up or down by a step. Then it moves back to the first note. A passing tone fills the gap between two chord tones.

Sometimes a note is held too long. It stays even when the chord changes. This is called a suspension. If the note moves up instead of down, it is a retardation. Another type is a pedal point. This is a long note that stays the same. It often stays in the lowest part of the music while other notes change.

Music is built from many different notes. Some notes belong perfectly to a chord, which is a group of notes played together. We call these chord tones. However, many songs include notes that do not belong to that specific chord. These are called nonchord tones, or nonharmonic tones. They add a special kind of tension to the music. This tension is often called dissonance. Musicians use these notes to make a melody feel more interesting or emotional.

Nonchord tones usually follow a specific three-step pattern. First, there is a preparation where the note sounds stable. Next comes the dissonance, which is when the nonchord tone creates a tense sound. Finally, there is a resolution. This is when the tense note moves to a stable chord tone. Most nonchord tones create intervals like a second, fourth, or seventh. These sounds feel like they need to move to feel smooth again.

Music historians look at how these notes have changed over time. In European classical music, composers began using more dissonance as years passed. They used notes like ninths, elevenths, and thirteenths. These notes eventually became a normal part of the chord itself. This happened because of the push between different musical forces. Even in jazz, the rules can change. In 1940s bebop jazz, a note like F might be part of a C chord. This is because the chord is analyzed as a C7(11) chord.

There are many different types of nonchord tones. Some are unaccented, meaning they happen on a weak beat. An anticipation is an unaccented note that is played a little early. A neighbor tone moves up or down by a step and then returns to the original note. A passing tone fills the gap between two chord tones by moving in one direction. There are also accented nonchord tones that happen on strong beats. An appoggiatura is an accented note that skips to a new note and then moves by step.

Some nonchord tones work in very unique ways. A suspension happens when a note from an old chord is held over into a new chord. This note must resolve downwards to a chord tone. If the note moves upwards instead, it is called a retardation. Another type is a pedal point. This is a note, usually the lowest one, that stays the same while other chords change. This can happen in the lowest voice or even an upper voice. These tools help composers create many different feelings in their music.

In music theory, a nonchord tone (NCT) is a note that does not belong to the implied chord. These are also called nonharmonic or embellishing tones. While chord tones provide the stable foundation of a piece, nonchord tones add variety and tension. This tension is known as dissonance. Most nonchord tones create specific intervals, such as a second, a fourth, or a seventh. These intervals feel unstable to the listener. This instability creates a musical need for the note to move toward a stable chord tone.

Most nonchord tones follow a predictable three-part pattern to manage this tension. The process begins with a preparation, where a stable chord tone is played. Next comes the dissonance, which occurs when the nonchord tone sounds against the chord. Finally, the process ends with a resolution. During resolution, the dissonant note moves to a stable chord tone. This cycle of tension and release is a fundamental part of musical expression.

Musicians categorize nonchord tones based on how they are emphasized in the rhythm. The most important distinction is whether they are accented or unaccented. Accented nonchord tones occur on strong beats or important parts of a beat. Unaccented nonchord tones occur on weak beats. They can also be classified by their direction of approach and departure. Some move by steps, while others move by larger leaps. This variety allows composers to create many different textures in both homophonic and contrapuntal music.

Unaccented tones include several specific types. An anticipation (ANT) is a note that is approached by step and remains the same. It is essentially a note from the next chord played slightly early. A neighbor tone (NT), or auxiliary note (AUX), moves stepwise away from a chord tone and then returns to that same note. If it moves up, it is an upper neighbor tone. If it moves down, it is a lower neighbor tone. An escape tone (ET), or echappée, is an incomplete neighbor tone. It is approached by step but resolves by skipping in the opposite direction. A passing tone (PT) fills the gap between two chord tones by moving stepwise in one direction.

Accented tones often create more intense emotional effects. A suspension (SUS), sometimes called a syncope, occurs when a note from a previous chord is held over into a new chord. This held note becomes a dissonance against the new harmony. A suspension must resolve downwards by step to a chord tone. If the note is prepared like a suspension but resolves upwards, it is called a retardation. Another accented type is the appoggiatura (APP). This is an incomplete neighbor tone that is approached by a skip and resolved by a step.

History shows that the use of these tones has changed significantly over time. In European classical music, the use of dissonance increased between different musical periods. This was caused by the interaction of linear and vertical musical forces. As a result, complex chords like ninths, elevenths, and thirteenths became normalized. What were once considered nonchord tones eventually became part of the chordal mass itself. Even in jazz, the definition can shift. In 1940s-era bebop, an F played with a C chord might be considered a chord tone if the chord is analyzed as a C7(11).

There are also more complex ways to use nonchord tones. A pedal point (PD) is a note, usually the tonic or dominant, that is held through many chord changes. It is most often found in the lowest voice, which is called a pedal point in organ playing. If it is in an upper voice, it is an inverted pedal. An internal pedal occurs between the upper and lower voices. Additionally, changing tones (CT) consist of two successive nonharmonic tones. Finally, chromatic nonharmonic tones use notes outside the key to create half-step motion. These techniques allow for deep complexity in musical composition.