Applications / Pedagogy / Guided Tours / Exercise 9



Non-chordal Tones
These exercises will consist in placing relatively simpleNon-chordal Toneson each chord of a circle. The aim of this work is to discover what results one gets with different procedures. These is no better place to explore than this field of Non-chordal Tones. Try them out and see which ones you like and which ones you do not like, because some of them will be quite discordant. Try to find out why you do not like the discordant ones and how you could soften them (leaving out theFB, chromaticizing the p2 and/or the s2,dominantizingthe chord), to find a more satisfactory "sound". Once you have gone through these exercises, you should be able to make up more complicated ones. Above all, enjoy, and don't expect a rose garden, there are lots of thorns out there !

With a Voice-leading A Circle
Start with the circle (in the Key of F) which we made inExercise 1of theMetamorphoses,
           using only Temporary Non-chordal Tones which always "rub" againt a Chordal Tone,
                in this case, the Non-chordal Tone between therootand thethirdof the chord
                     (sus2 and push2).
           No Non-chordal Tones on theFB.
                The simplest subdivision isHalf noteHalf note, but you may use whatever you like.
      1. The Superior Diatonic Temporary Non-chordal tone on eachCOMMON TONE,
                Orbit10(s2 or s-2).
           The result is quite discordant and the culprit is theFB,
                which always has the same Orbit10as the Non-chordal Tone, and
                which is always "in the way" of the resolution of the Non-chordal Tone,
                     especially with the semi-tone resolution of the s-2 on chords 2 and 3.
           The simplest and most drastic solution is to remove theFBcompletely,
                redistributing the lines to get a better Bass Voice ending,
                or simply changing the last note of the Tenor to have theFBon the last 2 notes.
           However theFBmay be kept if we place it alone on beat 1 of each bar,
                and the top voices on beats 2 and 3 (of a 3/4 bar) as inBell-5,
                     especially if we place the Tenor line an octave higher,
                          the 3 upper lines played by the right hand (for a keyboard performance).
           If you want to try Chromaticism,
                you couldDominantizeeach chord and use only s-2 (flat ninths).
      2. The Inferior Temporary Non-chordal tone on eachMEDIAN, Orbit2(p2 or p-2).
           There is no problem with theFBhere, since it always doubles a Chordal Tone.
           The trouble lies in the "sluggishness" of the Inferior Non-chordal Tones, especially the p-2.
                You might try chromaticizimg the p-2 (to p2) and see if you prefer that sound.
                You might also chromaticize some of the "flatter" p2 (to p+2), or possibly all of them.
           The sluggishness of Inferior Diatonic Non-chordal Tones is always a problem,
                and we are not yet sure whether it is a fundamental technical problem,
                     or a cultural problem of habit.
      3. The s2 (s-2) on the odd-numbered chords and the p2 (p-2) on the even-numbered chords.
           Apply the solutions of 1. on the odd-numbered chords,
           and the solutions of 2. on the even-numbered chords.
      4. The p2 (p-2) on the odd-numbered chords and the s2 (s-2) on the even-numbered chords.
           Apply the solutions of 2. on the odd-numbered chords,
           and the solutions of 1. on the even-numbered chords.
      5. Both the s2 (s-2) and the p2 (p-2) on each chord.
           This one is fun.
                When they are both diatonic, the result is quite consonant, almost a little empty,
                     especially without theFB.
                When the push is chromatic and the sus remains diatonic, the result is violently dissonant
                          (less for diminished octaves, a Ravel favorite, than for chromatic unisons),
                     but far from disagreeable for more tolerant ears.
                          You should at least try it and see what you think !

With a Voice-leading B Circle
Start with the circle (in the Key of C) which we made inMetamorphosis 1,
           with the3-2-10-01Orbit Chain and the10(3)substitution for theMOTRIX.
                and the01, 10, 2, 3disposition of the DOMINANT.
           NoFB, only the 4 Orbit lines.
      1. Use only the Superior Diatonic Permanent Non-chordal tone on eachCOMMON TONE,
                Orbit10(s2 or s-2).
           No serious problem here -
                noFB, "in the way" of the resolution of the Non-chordal Tone, and
                no "sluggishness" of the Inferior Non-chordal Tones.
           You might enjoy achieving a more "sophisticated" sound by -
                maintaining a s-2 (minor ninth) throughout, and
                dominantizing each chord except the BUCKLE chord (chord 3).

With a Voice-leading C Circle
Start with the circle (in the Key of C) which we made inMetamorphosis 1,
           with the3-2Orbit Chain as well as the10-01and01-10Orbit lines, and theFB,
                with theFB, 01, 3, 10, 2disposition of the DOMINANT,
           using only Superior Diatonic Temporary Non-chordal Tones
                and the10(3)Partial Substitution of theMOTRIX, followed by theMOTRIXitself.
      1. Place only the10(3)Partial Substitution of theMOTRIXon each chord (except the last).
      2. Place only the sus4 on each chord (including the last).
      3. Place only the sus6 on each chord (including the last).
      4. Place the sus4 and the sus6 on each chord (including the last).
      5. Place the partial10(3)and the sus6 on each chord (only the sus6 on the last).
      6. Place the partial10(3), the sus4, and the sus6 on each chord
           (only the sus4 and the sus6 on the last).
 You should find this gradual build-up pleasant.

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