Non-chord sounds |
German akkordfremde or harmoniefremde Töne, English. nonharmonic tones, French notes étrangere, ital. note accidentali melodiche or note ornamentali
Sounds that are not part of the chord. N. h. enrich harmonies. consonances, introducing melodic into them. gravitation, varying the sound of chords, forming additional melodic-functional connections in relations with them. N. h. are classified primarily depending on the method of interaction with chord sounds: do N. z. to a heavy beat of the bar, and chord ones to a light one, or vice versa, does N. z. return? to the original chord or goes into another chord, whether N. z appears. in progressive motion or taken abruptly, whether N. z. a second movement or it turns out to be thrown, etc. There are the following main. types of N. h.:
1) detention (abbreviation: h); 2) appoggiatura (ap); 3) passing sound (n); 4) auxiliary sound (c); 5) cambiata (to), or abruptly thrown auxiliary; 6) jump tone (sk) – detention or auxiliary, taken without preparation and abandoned. without permission; 7) lift (pm) (examples 1-7).
Nek-ry types N. h. are similar to each other and form larger classes:
I – retention (actual retention and appoggiatura, as well as jumping on a heavy beat), II – passing, III – auxiliary (actually auxiliary, cambiata, jumping on an easy beat), IV- advance.
The role of N. h. can perform sustained tones in the upper and middle voices (example 8). To N. h. sometimes there are secondary N. h. or N. h. second order (example 9). N.’s combination h. sometimes sounds like a regular chord with chords (it is called an imaginary chord, see in example 10 a long delay to a major triad, sounding like a minor non-chord; es=dis). All N. h. turn out to be ultimately (sometimes in a complicated way) adjacent to chordal ones, on which they functionally depend. An essential functional feature of N. z. is the realized need for their resolution (see examples 1-5, 9-10), how they differ from the added (according to Rameau, “ajoutye”) sounds or side tones; jump tones seem to be resolved by the sounds of a chord in other voices; sustained sounds obey the laws of the organ point. Resolution N. h. it can also be extremely complex (A. N. Scriabin, 4th sonata, part 1, vol. 2). N. h. possible at one time. in several voices, up to turning into a special kind of linear function chords – delay chords (L. Beethoven, Adagio of the 9th symphony, vols. 11, 18), passing (J. S. Bach, 3rd Brandenburg Concerto, part 1 , v. 2 from the end), auxiliary (S. S. Prokofiev, “Romeo and Juliet”, No. 25, dance with mandolins), steps (P. I. Tchaikovsky, sonata for piano, v. 1-4). Distribution of regularities N. z. (especially passing) on the harmonic. succession, prolongation of structural-supporting harmonies are able to decorate and at the same time veil the fundamental harmonies. combinations (for example, move V-IV in bars 1-2 of Scriabin’s prelude in D-dur op. 11). Table H. h.:
References: Rimsky-Korsakov N.A., Practical textbook of harmony, vol. 1-2, St. Petersburg, 1884-85, the same, Poln. coll. soch., vol. IV, M., 1960; Taneev S., Mobile counterpoint of strict writing, Leipzig, 1909, the same, M., 1959; Catuar G., Theoretical course of harmony, part 2, M., 1925; Tyulin Yu. N., A practical guide for an introduction to harmonic analysis based on Bach’s chorales, L., 1927 (on the title page: Introduction …); Sposobin I., Dubovsky I., Evseev S., Practical course of harmony, part 2, M., 1935; Riemann H., Katechismus der Harmonielehre, Lpz., 1890; Schenker H., Neue musikalische Theorien und Phantasien, Bd 1, B. – Stuttg., 1906, Bd 3, W., 1935, 1956; Hindemith P., Unterweisung im Tonsatz, Tl 1, Mainz, 1937, neue Ausg., 1940; Piston W., Harmony, NY, 1941; Karastoyanov A., Polyphonic Harmony, Sofia, 1959 (in Russian translation – Polyphonic Harmony, M., 1964).
Yu. N. Kholopov
