Harmonic Expansions G. DeBenedetti www.gmajormusictheory.org

Chapter 7: Nonharmonic Tones: Embellishing the Fundamental Harmonic Progression 7.3 Escape Tones, Anticipations and Suspensions

Escape tones (ET) are approached by a chord tone by step and then resolve by skipping in the opposite direction.

Escape tones (ET) are approached by a chord tone by step and then resolve by skipping in the opposite direction. The first measure above illustrates an escape tone embellishing the initial tonic and interrupting the soprano descent from tonic to leading tone.

The last phrase of the Star Spangled Banner contains an Escape tone on the word "of." In the illustration below, the E-flat in the melody does not belong to the tonic (or cadential) 6/4. As an Escape Tone, it is approached by step by the more stable note, D, and then skips in the opposite direction to the chord tone C of the dominant, F major.

Anticipations are usually approached by step, and then arrive at a note in the following chord "too early."

Anticipations are usually approached by step, and then arrive at a note in the following chord "too early." They resolve by staying on the very same note over a changing harmony.

Anticipations are usually approached by step, and then arrive at a note in the following chord "too early." They resolve by staying on the very same note over a changing harmony. Anticipations often occur at a cadence anticipating the final note of a phrase.

Anticipations are usually approached by step, and then arrive at a note in the following chord "too early." They resolve by staying on the very same note over a changing harmony. Anticipations often occur at a cadence anticipating the final note of a phrase. The first phrase above is like the phrase illustrating Escape Tones on previous slides, but adds an Anticipation towards the end.

Anticipations are usually approached by step, and then arrive at a note in the following chord "too early." They resolve by staying on the very same note over a changing harmony. Anticipations often occur at a cadence anticipating the final note of a phrase. The first phrase above is like the phrase illustrating Escape Tones on previous slides, but adds an Anticipation towards the end. The second phrase includes a descending, instead of ascending, Anticipation.

In the Overture to Water Music Handel wrote an eighth note C, E and G anticipating the final chord of the first section. The E and G do not belong to the F major harmony in the second half of the next- to-the-last measure.

Suspensions are accented nonharmonic tones which are approached by the same note (often tied) and then resolve down to a chord tone by step.

Suspensions are accented nonharmonic tones which are approached by the same note (often tied) and then resolve down to a chord tone by step. Suspensions arrive at the resolving note "too late."

Suspensions are accented nonharmonic tones which are approached by the same note (often tied) and then resolve down to a chord tone by step. Suspensions arrive at the resolving note "too late." Compare them to anticipations which arrive at the resolving chord tone "too early."

Suspensions are accented nonharmonic tones which are approached by the same note (often tied) and then resolve down to a chord tone by step. Suspensions arrive at the resolving note "too late." Compare them to anticipations which arrive at the resolving chord tone "too early." Suspensions are named after the intervals they form above the bass.

Suspensions are accented nonharmonic tones which are approached by the same note (often tied) and then resolve down to a chord tone by step. Suspensions arrive at the resolving note "too late." Compare them to anticipations which arrive at the resolving chord tone "too early." Suspensions are named after the intervals they form above the bass. Phrase 1 above illustrates a 9 - 8 suspension. It delays the soprano's resolution to the final tonic.

Suspensions are accented nonharmonic tones which are approached by the same note (often tied) and then resolve down to a chord tone by step. Suspensions arrive at the resolving note "too late." Compare them to anticipations which arrive at the resolving chord tone "too early." Suspensions are named after the intervals they form above the bass. Phrase 1 above illustrates a 9 - 8 suspension. It delays the soprano's resolution to the final tonic. Phrase 2 illustrates a 4 - 3 suspension. It delays, and thus calls attention to, the soprano's descent to the leading tone.

A 4 - 3 suspension appears at the end of this excerpt from a Boccherini Minuet. The D at the beginning of the second line is approached by the same note (end of line 1) and resolves down by step to C#, the third of the accompanying A chord.

7 - 6 suspensions resolve to first inversion chords.

7 - 6 suspensions resolve to first inversion chords. They therefore cannot elaborate the root position progressions from Chapter 6.

7 - 6 suspensions resolve to first inversion chords. They therefore cannot elaborate the root position progressions from Chapter 6. These suspensions are included here only to complete the presentation of suspensions in higher voices.

A 7 - 6 suspensions appears in phrase 1, measure 2, above, as a soprano E over a first inversion V chord. The interval of a 7th against the bass resolves to a 6th on beat 2.

A 7 - 6 suspension appears in phrase 1, measure 2, above, as a soprano E over a first inversion V chord. The interval of a 7th against the bass resolves to a 6th on beat 2. In phrase 2, measure 1, the soprano G is a suspension above the first inversion vii° chord. The interval of a 7th resolves to a 6th on the second eighth note.

Your Turn: Dictation! Write the escape tones, anticipations and suspensions you hear ornamenting fundamental harmonic progressions. DOWNLOAD an answer sheet for you to write on. LISTEN to the mp3 files specified in the instructions. WRITE the soprano of the progressions you will hear. DOWNLOAD the solutions page and CHECK your work.