What does the summary indicate about the general metric placement of escape tones?
Explanation
This question checks for understanding of the typical characteristics of escape tones, specifically their metric placement, as outlined in the summary.
Other questions
What is the general rule for the melodic contour of an appoggiatura?
What is another name for an escape tone?
A neighbor group is described as a combination of which two nonchord tones in succession?
What is a 'free anticipation'?
What is the defining characteristic of a pedal point?
According to the text, the appoggiatura is more typical of which century's music compared to the eighteenth century?
What are the typical characteristics of an escape tone?
What is the common purpose of using an escape tone at a cadence?
Besides 'cambiata', what is another term used for a neighbor group?
The device where the end of a Baroque phrase in a minor key concludes with a major tonic triad is known as what?
From where does the term 'pedal point' originate?
What is an 'inverted pedal point'?
What is a 'double pedal point'?
What is the common triad often included in a passage with a tonic pedal point, whose root is a perfect fourth above the pedal?
In the context of analyzing passages with pedal points, what is the general practice for indicating inversions of chords played above the pedal?
When analyzing an unaccompanied melodic line, the text suggests that recognizing NCTs is generally what?
What issue is highlighted in Example 12-14 (Brahms), where two staves are not 'correctly' aligned?
What is the key takeaway from the discussion of Examples 12-12 and 12-13 (Schubert) regarding the labeling of NCTs?
Which nonchord tone discussed in Chapter 12 has a melodic contour that is the reverse of an appoggiatura?
In what situation might what appears to be a pedal point or anticipation actually be better analyzed as suspensions and retardations?
While an appoggiatura is generally approached by an ascending leap and left by a descending step, the text notes that the sequence is not always this specific. What is the constant feature of all appoggiaturas?
In Example 12-2 (Chopin), what aspect of the nonchord tones is identified as being a major contributor to the phrase's 'Romantic flavor'?
What does the neighbor group figure resemble, as illustrated in Example 12-4?
How does an anticipation move to the chord it anticipates?
In Example 12-7 (Schumann), three anticipation figures are present. How many of these figures are actual Nonchord Tones?
In the context of the pedal point, what is a 'pedal six-four chord'?
What type of pedal point is illustrated in Example 12-11 (Prout), which contains rests?
Which statement accurately describes the NCTs discussed in Chapter 12 compared to those in previous chapters?
What does the text suggest is the best analytical solution for the seemingly problematic NCTs in Example 12-13 (Schubert)?
In the summary, how is an escape tone's melodic motion described?
According to the summary, a neighbor group embellishes a single pitch by sounding what?
The summary states that an anticipation almost always resolves to what?
What is the summary's definition of a free anticipation?
In most cases, what is the melodic approach and resolution for an appoggiatura, according to the summary?
According to the analysis of conventional NCT terminology in the 'Special Problems' section, what is the suggested approach for a passage like Example 12-14 (Brahms)?
What are appoggiaturas also called?
What is the typical harmonic context for using an escape tone figure to ornament a scalar line, as seen in the reference to Example 11-3?
The resolution of the neighbor group figure involves the second nonchord tone, which is an appoggiatura. How does this appoggiatura resolve?
In Example 12-8 (Mozart), what is the function of the bass anticipating the tonic triad before the dominant chord has resolved?
What is the primary difference between a rearticulated pedal point and a sustained pedal point?
In the analysis of the Bach fugue subject (Example 12-16), what does the textural reduction reveal about the melody?
What factor often makes NCTs involving leaps, like appoggiaturas, more obvious to the listener?
In the case of a neighbor group, the first neighbor is approached by step and left by leap, while the second is approached by leap and resolved by step. Which part of this figure constitutes the escape tone?
What chord is often found above a dominant pedal point?
What makes the analysis of Example 12-2 (Chopin) change when moving from the surface to a more background level, as shown in the textural reduction?
According to the chapter, how does a free anticipation resolve?
Which nonchord tone discussed in Chapter 12 is generally characterized as being 'accented'?
The analysis of the Schumann example with anticipation figures (Example 12-7) shows that while there are three such melodic shapes, only the one in the bass is an NCT. What are the other two figures?
What is the primary cautionary point the chapter makes about analyzing NCTs in an unaccompanied melody?