13.7: Additional Classifications
- Page ID
- 258556
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Neighbor Group
When we combine the escape tone and appoggiatura, we have a neighbor group. This can be abbreviated with "n" and "gr" in parenthesis and looks like: (n.gr). This looks like neighbor tones with the middle of the group being left out.
Key features
- The neighbor group is a combination of two different embellishments
- The first non-chord tone leaves the chord tone by a step
- There is a skip of a third in the opposite direction
- The second non-chord tone is resolved by coming up a step in the opposite direction of the skip
Example
In this example, we are in the key of G minor. Our first chord is a C minor chord, which is the minor four chord. It is made up of: C, E-flat, and G. On the second beat in this measure, we have a step down to the F-sharp and then a skip in the opposite direction to A. This group of two non-chord tones then resolves down a step to G. G belongs in our second chord because it is a minor tonic in this key and is made up of: G, B-flat, and D.
In small parenthesis, we can see the imaginary G that would make this look like a lower neighbor and then an upper neighbor with the middle chord tone missing.
Anticipation
An anticipation happens when a note from a chord shows up before the chord has happened. This is abbreviated by "ant" in parenthesis and looks like: (ant).
Key Features
- The note that is an anticipation cannot be present in the previous chord
- The anticipation note is heard and then the chord to which it belongs is heard
- The anticipation can be approached by either a step or a skip
- When an anticipation is approached and left by a leap, it is called a free anticipation
Example
For this example, we will stay with the same chord progression as we used above. Our first chord is C minor and is made up of: C, E-flat, and G. Our second chord is the minor tonic and is made up of: G, B-flat, and D. Since D is not present in the first chord, it can be used as an anticipation in the alto voice. The non-chord tone comes in on the second half of the second beat before the actual chord sounds on beat three.
Pedal Point
A note that is used as a pedal point starts as a chord tone, becomes a non-chord tone, and then returns to being a chord tone. This is abbreviated with lowercase "ped" and looks like: (ped).
Key Features
- The tonic or dominant note is usually used as a pedal point
- The pedal point is usually found in the bass
- When the tone is not in the bass, it is called an inverted pedal point
- If two pitches are held as a pedal point, it is called a double pedal point
Example
In this example in B-flat major, our B-flat in the bass becomes our pedal point and is held through the entire example. The first chord is a tonic chord and is made up of: B-flat, D, and F. The B-flat in the bass is a chord tone. The B-flat continues to be held, but the upper notes move and change the chord. The new chord is a dominant chord and is made up of: F, A, and C. The B-flat that is present in the bass is now a non-chord tone pedal point. The third chord returns to the tonic where the B-flat is again part of the chord.
