1. Chapter 13
Embellishing Tones

2. Here is a secret…
…you had most of this information before in two voices, we are now applying to to 4 voices.

3. List of Embellishing Tones
Passing Tones
Neighbor Tones (upper and lower)
Double Neighbor Tones
Incomplete Neighbor Tones

4. Embellishing Tones in 3 or 4 Voices
Same rules apply as it does for 2 parts/voices.
Embellishing tones can be added to any voice.

5. Neighbor Tone Examples
NEIGHBOR TONE IN THE ALTO VOICE
NEIGHBOR TONE IN THE SOPRANO VOICE
NEIGHBOR TONE IN THE TENOR VOICE
NEIGHBOR TONE IN THE BASS VOICE

6. Passing Tone Examples PASSING TONE IN THE ALTO VOICE
PASSING TONE IN THE SOPRANO VOICE
PASSING TONE IN THE ALTO VOICE
PASSING TONE IN THE TENOR VOICE
PASSING TONE IN BASS VOICE

7. Your Turn to Try In the book packet:
page 135; II. Writing Embellishing Tones; Letters A, B, and C.

8. Key Concept - Suspensions
When writing a suspension in a piece with three or more voices, it helps if you plan the doubling in the chord of resolution first. Make sure that the chord with the dissonant suspension does not also include the suspension’s tone of resolution-EXCEPT in a 9-8 suspension when the resolution tone is in the bass.
Key Concept - page 226

9. Suspension in 4 Voices Same as suspension in 2 voices Most common: 9-8
7-6
4-3

10. 4-3 Suspension
Notice: The resolution (the B in the treble clef) is NOT
doubled anywhere else in the triad.
This follows the key concept rule from page 226.

11. This follows the key concept rule from page 226.
7-6 Suspension
Notice: The resolution to the suspension (F# in the soprano) is not in the triad until the resolution.
This follows the key concept rule from page 226.

12. 9-8 Suspension
Notice: In a 9-8 suspension, the resolution pitch (A in the
Soprano above) is already in the bass.
This is the exception to the rule.
This follows the key concept rule from page 226.

13. Other 4 Part Suspension Examples

14. Key Concept - Suspensions
When writing a suspension in a piece with three or more voices, it helps if you plan the doubling in the chord of resolution first. Make sure that the chord with the dissonant suspension does not also include the suspension’s tone of resolution-EXCEPT in a 9-8 suspension when the resolution tone is in the bass.
Key Concept - page 226

15. Key Concept - Embellished Suspensions
When we embellish suspensions, we decorate the dissonant suspended tone rather than the tone of resolution.
Key Concept - page 229

16. Writing a Suspension Plan for the doubling first
Make sure your suspension does not double an already existing triad/chord tone (9-8 suspension is the exception)
Make sure the suspension resolves down by step

17. Anticipations
Anticipation are very similar to suspensions, but they come BEFORE the triad/chord resolution, not after.

18. Notice, how the anticipated note can be double!
Anticipation Example
Notice, how the anticipated note can be double!

19. …MATURITY for the next topic!
Wanted…
…MATURITY for the next topic!
Reward = 1. Less stressful class for all!
2. Time to start homework.
3. EDUCATION!!

20. Key Concept - Retardation
A retardation, like a dissonant suspension, begins with a consonance that is held over - tied or rearticulated - to the next beat to make a dissonance. It then resolves up by step. The most common dissonant retardation is made of intervals 7-8, with scale-degrees 7 and 8 above the tonic pitch in the bass.
Key Concept - page 229

21. Retardation - Simply Stated
Simply stated a retardation is the same as a suspension, but it resolves UP not down.

22. Retardation Example
7-8 Retardation

23. Retardation Example
7-8 Retardation

24. Retardation Example
2-3 Retardation

25. Pedal Point
A note held for several measures while harmonies change above it.

26. Pedal Point Example

27. Pedal Point Example