The Building Blocks of Melodic Embellishment: Revisiting Diatonic Non-Chord Tones
As composers, we often spend a lot of time focusing on chords – their types, progressions, and functions. And rightly so; harmony is the backbone of much of our music. However, melody is the voice, the storytelling element that truly captures the listener's ear. And the secret to crafting compelling, fluid, and emotionally resonant melodies often lies not just in the chord tones (notes belonging to the underlying harmony), but in the strategic use of non-chord tones (NCTs), also known as non-harmonic tones or embellishments.
Before we dive into the exciting world of chromaticism, it's essential to have a crystal-clear understanding of the fundamental diatonic non-chord tones. These are the melodic "spice" that adds flavor, nuance, and forward motion to your lines, even when strictly confined to a single key. Mastering them diatonicallly is the prerequisite for truly impactful chromatic embellishment.
Think of it like sketching. You first learn to draw basic shapes and lines (chord tones). Then, you learn to add subtle shading and contour to make those shapes more lifelike (non-chord tones). Only then are you ready to introduce vibrant, contrasting colors (chromaticism).
Let's revisit these essential melodic embellishments:
1. Passing Tones (PT)
The passing tone is perhaps the most fundamental and intuitive non-chord tone. It acts as a bridge, smoothly connecting two consonant chord tones by stepwise motion in the same direction.
Definition: A non-chord tone approached by step and left by step in the same direction.
How it Works: You have two chord tones, say C and E in a C major chord. A D can be a passing tone, smoothly connecting C to E (C-D-E). The D is not part of the C major chord, but it "passes" through.
Types:
Ascending Passing Tone: Moves up from one chord tone to another (e.g., C-D-E over a C major chord).
Descending Passing Tone: Moves down from one chord tone to another (e.g., E-D-C over a C major chord).
Placement: Usually occurs on a weaker beat or unaccented part of the measure, contributing to fluidity rather than strong emphasis.
Purpose: Primarily to create smooth melodic flow and a sense of forward motion. It fills in gaps, preventing melodies from sounding too angular or "blocky." It makes melodies more singable and natural.
Example: In C Major, over a C major chord (C-E-G), if your melody moves from C up to E, inserting a D (C-D-E) is a passing tone. If it moves from G down to E, inserting an F (G-F-E) is a passing tone.
2. Neighbor Tones (NT)
The neighbor tone (also called an auxiliary tone) creates a subtle ornamentation by moving away from a chord tone by step and immediately returning to that same chord tone. It acts like a little decorative "wiggle" around a stable note.
Definition: A non-chord tone approached by step and left by step in the opposite direction, returning to the original chord tone.
How it Works: You have a chord tone, say C in a C major chord. A neighbor tone would move to D (upper neighbor) and immediately back to C (C-D-C), or to B (lower neighbor) and immediately back to C (C-B-C).
Types:
Upper Neighbor Tone: Steps up from a chord tone and returns (e.g., C-D-C over a C major chord).
Lower Neighbor Tone: Steps down from a chord tone and returns (e.g., C-B-C over a C major chord).
Placement: Like passing tones, often occurs on a weaker beat.
Purpose: To add gentle melodic embellishment, a mild tension and quick release, and subtle rhythmic interest. It makes a melody feel less static, even if it's essentially hovering around a single chord tone.
Example: In C Major, over a C major chord, if your melody has a sustained E, moving to F then back to E (E-F-E) uses an upper neighbor. Moving to D then back to E (E-D-E) uses a lower neighbor.
3. Suspensions (Sus)
Suspensions are among the most emotionally rich non-chord tones. They create a beautiful sense of lingering tension and yearning by holding onto a note from a previous chord into a new chord, where it becomes a dissonance, before finally resolving by step (almost always downwards) into a consonant chord tone.
Definition: A chord tone that is prepared (played as a consonant note in the preceding chord), suspended (held over into the new chord where it becomes a dissonance), and then resolved (steps downwards to a consonant chord tone).
The Three Stages:
Preparation (P): The note is consonant in Chord 1.
Suspension (S): The same note is held over into Chord 2, where it becomes a dissonance.
Resolution (R): The dissonant note moves by step (usually down) to a consonant note in Chord 2.
Placement: The suspension itself (the dissonant moment) typically occurs on a strong beat or accented part of the measure, drawing attention to its tension.
Purpose: To create expressive tension, a feeling of yearning, longing, or anticipation, followed by a satisfying release. They are often used to build emotional depth and dramatic weight, especially at cadences.
Common Notations (Ratio with Bass): Suspensions are often identified by the interval the suspended note forms with the bass on the strong beat, then the interval it resolves to. Common examples include:
9-8: A 9th above the bass resolves to an 8th (octave).
7-6: A 7th above the bass resolves to a 6th.
4-3: A 4th above the bass resolves to a 3rd.
2-3: (Inverted suspension, bass suspended) A 2nd above the bass resolves to a 3rd.
Example: In C Major, over a G major chord resolving to C major:
You have a G in the bass, and an A (part of an Am chord, for instance) in an upper voice.
When the harmony shifts to C major, the A is held over. Over the C in the bass, A is now a dissonance (a 6th, or a suspension that wants to resolve down).
The A then resolves down to G, which is consonant with the C major chord (forming a C-E-G triad). This would typically be a 9-8 suspension, but could be a 6-5 or other.
4. Appoggiaturas (App)
The appoggiatura is similar to a suspension in its dramatic effect, but it creates a more assertive, "leaning" dissonance. The key difference is its approach.
Definition: A non-chord tone approached by leap (often upwards, but can be downwards) and then resolved by step (usually downwards) to a consonant chord tone.
Key Distinctions from Suspension:
Approach: Approached by leap, not held over.
Preparation: It is not prepared as a consonant note in the previous chord.
Placement: Usually occurs on a strong beat or accented part of the measure, making its dissonance highly noticeable.
Purpose: To create a strong, dramatic, poignant, or emphatic dissonance. The leap makes it feel less gentle than a suspension, more like a deliberate "strike" that then resolves. It can express intense longing, a cry, or a sudden burst of emotion.
Example: In C Major, over a C major chord (C-E-G), if your melody jumps from G up to F (a non-chord tone) and then resolves down to E (part of the chord): G-F-E. The F is an appoggiatura. Or if you leap from C to F, then resolve to E.
Why These Foundations Matter
Even without chromaticism, the skillful deployment of these diatonic non-chord tones is crucial for:
Melodic Expressivity: They add sighs, yearnings, embellishments, and moments of dramatic tension that static chord tones alone cannot provide.
Rhythmic Vitality: They often occur on off-beats or create syncopation, enhancing the rhythmic interest of a melodic line.
Harmonic Nuance: While non-chord tones, they shape how we perceive the underlying harmony, adding richness and sophistication.
Fluidity and Direction: They guide the listener's ear smoothly from one chord tone to the next, creating a cohesive and purposeful melody.
These fundamental tools are the bread and butter of melodic composition across centuries and styles. Before we can effectively bend notes with chromaticism, we must first master the art of moving between diatonic tones with grace and expressive intent.
Mini-Exercise: "Embellished Lullaby" (Diatonic Melody)
Objective: Compose an 8-measure melody in G Major (Ionian) that predominantly uses passing tones, neighbor tones, and at least one clear suspension.
Instrumentation: Imagine this for a single melodic instrument (e.g., flute, violin, or voice).
Mood: Gentle, flowing, soothing, like a lullaby.
Instructions:
Start and end on the tonic (G).
Ensure smooth melodic contours.
Consciously insert passing tones to connect chord tones.
Use upper and/or lower neighbor tones to decorate sustained notes.
Include at least one clear suspension. Think of a 4-3 suspension over a C chord, or a 9-8 over a G chord. Plan the chord change where the suspension will occur.
Accompany with simple, sustained chords (G, C, D) in your mind or sketch them in.
Play your melody. Can you clearly hear each type of non-chord tone? Does it sound fluid and expressive?
Conclusion
Passing tones, neighbor tones, suspensions, and appoggiaturas are not mere academic terms; they are powerful expressive devices that add depth, flow, and emotional resonance to your melodies. By understanding their individual mechanisms and expressive purposes, you gain precise control over your melodic lines. In our next blog post, we'll take these foundational ideas and add a crucial layer of complexity and color by exploring their chromatic counterparts, opening up even wider avenues for tension, drama, and harmonic interest. Stay tuned!
