The non-harmonic tones, in detail.

Section 15. References.

Explanation of Signs. The Roman numeral stands for the movement; the Arabic numeral immediately following stands for the measure. In counting the measures, Measure 1 is the first full measure, the first measure beginning with a down beat; in other words, any fractional part of a measure with which a piece may begin, does not count. More than this - repeat signs have no value. Thus, Beethoven, Op. 10, No. 2, I, 19, means: Beethoven, opus ten, second sonata, first movement, nineteenth measure. In some cases, where the movement is short, no measure-figures have been given.

Section 16. The Appoggiatura (continued).

This ornament may move not only into a chord tone, but into some other non-harmonic tone also. Both neighbors of a chord tone may also be taken immediately before the chord tone itself, forming a Double Appoggiatura, and occasionally one of these tones is repeated, forming a Triple Appoggiatura. We have also applied the term Appoggiatura to that foreign tone which enters something like an Embellishment, but after a rest; and also, to that foreign tone in a scale passage which is taken by a step or skip of an augmented second.

Signs: Appoggiatura, App.; Double Appoggiatura, D. App.; Triple Appoggiatura, T. App.

References. Appogg. : Beethoven, Op. 7, IV, 34; Op. 10, No. 1, III, 43; Op. 10, No. 2, I,19; Op. 13, I, Allo., 25; Czerny, Op. 299, No. 31, second part; Cramer, Etude 6; Bizet, L'Arlesienne, Suite No. 1, Un poco più lento. Double Appogg. : Beethoven, Op. 7, IV, 48 ; Op. 2, No. 1, 28 ; Chopin, Prelude No. 13; Czerny, Op. 299, No. 11 ; Cramer, Etude 10, Etude 28.

Section 17. The Appoggiatura Chord is a chord, usually chromatic, which has as its soprano tone a genuine Appoggiatura. The inner voices which accompany the soprano tone may be passing tones, suspensions, any kind of foreign tones. Such a chord precedes a principal harmony, and if its tones be stricken out, omitted, this principal chord will appear as one of the harmonic essentials. The Appoggiatura Chord generally appears on the accent.

Sign: App. Chd.

References. Beethoven, Op. 2, No. 3, IV ; Op. 7, II, 8 ; Op. 10, No. 2, II, D strain; Cramer, Etude 4, m. 19; Etude 19, m. 18; Et. 14, m. 6; Schumann, Op. 6, No. 9, m. 1; Bizet, L'Arlesienne, Suite No. 1, I, Un poco più lento, т. 8; Wagner, Tannhäuser, 239, m. 1.

Section 18. The Free Tone is a foreign tone which is quitted by a skip, up or down, and is not a member of the following chord. It may be used after a foreign tone of any kind. It is rare in the classics, but frequent in certain modern works.

Sign: F. Т.

References. Wagner, Lohengrin, p. 10 ; Bizet, L'Arlesienne, Suite 1, II, m. 52, etc.; Grieg. Op. 6, No. 1, m. 22.

Section 19. The Passing Tone (continued). The Passing Tone may be used when two members of a chord remain stationary. Also, two or three voices, in the latter case forming chords, may move from a principal chord to another principal chord some distance away; those chords which are passed through have no harmonic significance, and only the end chords need to be marked. Lastly, Passing Tones may be broken, if the tempo be rapid, in the form of thirds or sixths, or even in octaves; see Appendix, Ex. 6.

Section 20. The Embellishment (continued). The Embellishment may ornament a foreign tone as well as a chord tone. Also, in carrying out a figure, a chord tone may he used to embellish a passing tone. Furthermore, two voices may be embellished simultaneously, and these voices may be broken as are the Passing Tones in Section 19, No. 42.

Section 21. The Embellishing Chord is a combination of tones accompanying an Embellishment in the soprano, and may form a definite chord, built up in thirds, or no chord at all. It may be diatonic or chromatic. Omit it and the essential chord will appear, visible to the eye. More than this, composers very frequently use as Embellishing Chords, altered diminished seventh chords based on different steps of the scale. Most common are those on the sharp second and sharp sixth steps of the major mode. Thus : С major, d # , f #, а, с ; a # c # , e, g. Of these the altered supertonic seventh embellishes the tonic harmony, and the altered submediant the dominant harmony. Occasionally an enharmonic notation (see Section 34) of one of these two chords will occur; in С major d # being made e b, etc. These changes result from careless spelling, or from some need of voice writing. Furthermore, either one of these two chords may appear without its third or fifth.

Signs: E. Chd., or E. Chd.

Section 22. The Suspension is the delayed or retarded entrance of a chord tone, or of a foreign tone, and is possible only when a voice moves down a major or a minor second. Suspensions may occur singly or in pairs; three voices may even be suspended at one time, or the whole chord be suspended rhythmically. The Suspension may be plain or ornamented. Double suspensions will often produce combinations which may be regarded as subordinate seventh chords; in analyzing it is well, however, to regard such combinations, when possible, as Suspensions, pure and simple, and to thus carry out one of the first Principles of Analysis — that of making as few chords as possible, and these principal chords. The resolution of the single Suspension, and occasionally of the double Suspension, though rarely, may be made into some chord other than the chord to which the tone of resolution in the first place belonged. The resolution of the Suspension may be ornamented in a number of ways.

Sign: S.

References. Beethoven, Op. 7, II, 6 ; Op. 2, No. 1. I, 11 ; Cramer, Etude 25, m. 2 ; Schumann, Op. 12, No. 1, m. 2 and 21 : Chopin, Prelude No. 2, m. 11, 12; Prelude No. 4 (essential chord at end of each measure); Bizet, L'Arlesienne, Suite I, Andantino, m. 2, 3; Wagner, Flying Dutchman, p. 4 (three chords in two measures).

Section 23. The Anticipation is the premature entrance of a tone, essential or foreign, and is the opposite of the Suspension. The German term, Vorausnahme, roughly translated as the thing-taken-beforehand, explains this phenomenon finely. Principle No. 4 should be borne in mind. The Anticipation may include a whole chord, with a skip in bass. Eather infrequent in occurrence.

Sign: A.

Section 24. The Free Anticipation is a foreign tone, quitted by skip, which belongs to the following chord. In this respect it differs from the Free Tone.

Sign: F. A.

Section 25. The Retardation is a rising Suspension, and is generally accompanied by one or more Suspensions. A whole chord may also be retarded, one single chord tone, or even a foreign tone, or tones.

Sign: R.

References. Beethoven, Op. 10, No. 2,II,10; Op. 2, No. 2, I, 60; Bizet, L'Arlesienne, Suite No. 1, I, Un poco più lento, m. 8, etc.

Section 26. The Organ Point; the Pedal. The Organ Point is a held tone, over, or under, or around which move harmonies containing more or less frequently this held tone as a member. The Organ Point may be short — three chords in length — or it may be given great extension ; the held tone may be the tonic, the dominant, or both together, the subdominant, or the mediant; and, lastly, and of frequent occurrence, the Organ Point may be broken or interrupted by rests, or may be ornamented by some foreign tone or tones. The harmonic structure, whether above or below, is to be regarded as a thing by itself, and figured as such; if above, the actual bass is the voice immediately over the held tone, and the figuring should begin from this voice.

Signs: Tonic Organ Point, T. O. P.; Dominant Organ Point, D. O. P.; Mediant Organ Point, M. O. P.; Double Organ Point, Dbl. O. P.

References. Beethoven, Op. 2, No. 3, III, 29; Op. 10, No. 3, I, 93; Schumann, Op. 12, No. 8, m. 45 ; Grieg, Op. 6, Nos. 1 and 4; Op. 19, No. 2 ; Chopin, Prelude, No. 8, and Nocturne, No. 2, m. 1; Bizet, L'Arlesienne, Suite 1, Le Carillon; Wagner, Flying Dutchman, 125.

Section 27. Dispersion of Chord Members. The normal chord change is a simultaneous one. The members of a chord may, however, enter at different points of the measure, and the harmony must be determined by picking out the various chord tones. Principle No. 4 must be borne in mind. Such irregular entrances are made only on principal chords; for a subordinate chord, used in such a manner, would weaken, perhaps destroy, the key character – which is absurd. These irregular entrances may be caused by any of the foreign tones.

Section 28. Tones sustained by Damper Pedal of the Piano. Mistakes are often made in the analysis of piano music by overlooking the continuance of a tone by the damper pedal after the key struck has been quitted by the finger. Neglect of this point will often render an analysis quite incorrect. In music care lessly marked as to the pedal signs — in Schumann, for example — some discretion is called for ; it may, indeed, become necessary to supply missing signs. Use the principal chords.