203 Week 4 Lecture

  • Course: MUS 203 Classical Theory and Musicianship 1

  • Lecture Dates: 2026.03.02 and 2026.03.24

Content - Chapter 15: Embellishing Tones

1. Introduction to Embellishing Tones

  • Focus on how embellishing tones enhance the harmonic framework in a composition.

2. Suspensions in Four Parts

  • Types:

    1. Suspensions with Change of Bass

    2. Combining Suspensions

    3. Embellishing Suspensions

    4. Retardations

2.1 Regular Suspensions

  • Example 16.5: J. S. Bach, "Heut' ist, o Mensch," mm. 8-9

    • Delineation of suspensions in the context of composition.

  • Example 16.6: Two-Voice Suspensions to Four Voices

    • Transformation of two-voice suspension to four-part texture.

  • Example 16.7: Bass Suspension in Four Voices

    • Discusses the bass line’s role in establishing suspensions.

2.2 Combining Suspensions

  • Example 16.9: J. S. Bach, Prelude in Eb Major

    • Illustration of double suspension in practice through Bach's work.

  • Example 16.10: Handel, Chaconne in G Major

    • Depicts suspension chains over specific measures.

2.3 Embellishing Suspensions

  • Example 16.12: J. S. Bach, “Liebster Jesu,” mm. 13–15

    • Analysis of embellishing suspensions in detail.

2.4 Retardations

  • Example 16.13: W. A. Mozart, Minuet in F Major, mm. 21-24

    • Overview of the concept of retardations with a provided cadence example.

New Types of Neighbor and Passing Tones

  1. Chromatic Neighbor and Passing Tones

    • Usage and examples focusing on chromatic alterations in neighbor tones.

    • Example 16.15 & 16.16: W. A. Mozart, Variations on "Ah, vous dirai-je Maman"

      • Presentation of various measures illustrating chromatic neighbors.

  2. Incomplete Neighbors

    • Description and examples detailing the concept of incomplete neighbor tones.

    • Example 16.17: W. A. Mozart and Example 16.18: Johannes Brahms.

  3. Double Neighbors

    • Definition and examples illustrating the use of double neighbor tones to create embellishment.

    • Example 16.19 and Example 16.20: W. A. Mozart.

  4. Creating Elaborate Embellishments from Simple Counterpoint

    • Techniques on how to layer embellishments through passing and neighbor tones.

    • Visual demonstrations in examples focusing on passage structure (Examples 16.21–16.26).

Other Embellishments

1. Anticipations

  • Definition explaining how anticipations work in relation to compositional structure and timing.

  • Example 16.23: Henry Purcell, “Music for a While”

    • Illustrates anticipations with specific emphasis on the final cadence.

2. Pedal Points

  • Discussion of pedal points and their effect within harmonic structure.

  • Example 16.24: J. S. Bach, Prelude in C Major

    • Details how dominant pedal points operate across various measures, highlighting their interaction with suspensions.

Embellishing Tones in Popular Music

  • Examines the application of embellishing tones in modern compositions.

  • Example 16.27: John Bettis and Jon Lind, “Crazy for You”

    • Highlights the use of sus chords in a popular music context.

  • Example 16.28: Freddie Mercury, “Bohemian Rhapsody”

    • Discusses chromatic passing and neighbor tones within popular music.

Summary of Key Concepts

I. Melodic Embellishments

  • Passing Tone (P): Fills a melodic gap.

  • Neighbor Tone (N): Decorates a single pitch.

  • Incomplete Neighbor (IN): A "broken" neighbor figure.

  • Double Neighbor (DN): Surrounds the target note.

II. Rhythmic Displacements

  • Suspension (Sus): A lingering note that resolves downward.

  • Retardation (Ret): A lingering note that resolves upward.

  • Anticipation (ANT): A note that arrives early.

  • Pedal Point (Ped): A sustained note (usually in the bass).

Exercises

  • Students are encouraged to prepare staff paper and pencil for notation exercises in relation to the discussed embellishments.

For Next Time

  1. Continue work on Chapter 15 during the Tutorial session.

  2. Read Clendinning & Marvin, Chapters 17: Voice-Leading Chords.