According to the classification of nonchord tones, how is a passing tone (p) approached and left?
Explanation
This question requires knowledge of the specific melodic formula for a passing tone as outlined in the classification table in Chapter 11. A passing tone moves by step in a single direction, connecting two different chord tones.
Other questions
What is a nonchord tone (NCT)?
How is a neighboring tone (n) defined in terms of its melodic movement?
What are the three distinct phases involved in a suspension?
What is the primary characteristic that distinguishes a retardation from a suspension?
What function does a passing tone serve in a melodic line?
A passing tone is most commonly used to fill in the melodic space of what interval?
What is a chromatic passing tone?
What is the primary function of a neighboring tone?
According to Chapter 11, a chromatic lower neighbor often acts as what kind of tone to the pitch it ornaments?
What is the primary source of dissonance on an accented beat in much tonal and pretonal music?
In the terminology of suspensions, what is the 'preparation'?
In the terminology of suspensions, what is the 'resolution'?
How are suspensions categorized and named according to the text?
Which of the following is NOT one of the common suspension types listed in Example 11-6?
What is the 2-3 suspension sometimes referred to as?
According to the text, what is a general rule regarding the note of resolution during a suspension?
Which type of suspension is the stated exception to the rule that the note of resolution should not be present elsewhere in the texture?
What is a 'suspension with change of bass'?
What is a 'chain of suspensions'?
In a retardation, what is the direction of the resolution?
In what stylistic context are retardations described as being especially common?
The retardation that is common at cadences in Classical style usually involves which scale degrees resolving?
In a multipart texture, how are the vertical intervals of a suspension calculated for naming purposes?
What is the naming convention for a suspension involving a compound interval, such as an 11th resolving to a 10th?
Which suspension type is the exception to the rule of reducing compound intervals to simple intervals for naming?
According to the discussion on embellishing a simple texture, what voice-leading error must one be careful not to create when adding passing and neighboring tones?
What does the lead-sheet symbol 'sus', as in C7sus, typically indicate?
Which of the following terms is NOT listed as a descriptor for nonchord tones in Chapter 11?
A nonchord tone that is 'accented' falls on what kind of metrical position?
A 'consonant suspension' is a suspension that...
What is a 'suspension figure' as described in Chapter 11?
If a suspension is labeled as 7-6, what do the numbers represent?
In a 2-3 suspension, which voice part contains the suspended note?
How many of the four main nonchord tones detailed in Chapter 11 (passing tone, neighboring tone, suspension, retardation) are approached by step?
What is the typical melodic movement of the resolution of a suspension?
What are the four common types of suspensions, classified by their interval numbers?
When are NCTs generally indicated in a figured bass?
What is the key difference in the melodic contour of a passing tone versus a neighboring tone?
The text mentions that two common types of NCT embellishments are the neighbor and the passing tone. What is the other type of embellishment mentioned alongside them, which is not an NCT?
Which figured bass symbol would be used for a 2-3 suspension?
What is the reason given for the inconsistency that a 2-1 suspension is labeled differently from a 9-8 suspension?
If a passing tone connects the notes G5 and D5, how many passing tones are being used?
An embellished suspension is one in which...
What is the first step in the process of analyzing nonchord tones in a piece of music?
In the discussion about adding suspensions to a simple texture, what is a suggested method for finding a location for a 2-3 suspension?
When finding a location for an upper-voice suspension like a 4-3, 7-6, or 9-8, what exception is given regarding the presence of the resolution tone?
In textures with more than two parts, the vertical intervals for classifying a suspension are calculated between the suspended part and which other part?
What is the primary characteristic of the preparation phase of a suspension?
What are the two main types of stepwise nonchord tones discussed in Chapter 11?