AP Music Theory Unit 6 Cheatsheet: Harmony and Voice Leading III - Embellishments, Motives, and Melodic Devices

Embellishing tones (also called nonharmonic or nonchord tones) are decorative notes that lie outside the pitch content of the prevailing chord.

They enrich individual lines and intensify expression while maintaining the underlying harmonic framework.

Key distinction: Rhythmic placement determines classification:

• Accented: falls directly on a beat
• Unaccented: falls between beats (on a division)

Related terms: ornament, trill, preparation, resolution.

Context: 18th-century chorale style; soprano given, compose bass.

Framework: Essential quarter-note bass enlivened with eighth-note motion.

Unaccented passing and neighbor tones work best when they:

• Complement a stationary soprano (two bass eighths against soprano quarter)
• Move in parallel thirds or sixths with soprano
• Engage in voice exchange with soprano

Key principle: Embellishments must follow normative 18th-century voice-leading rules; they decorate, not replace, harmonic function.

Indicating nonharmonic tones in figured bass or Roman numeral progressions:

Arabic numerals show specific nonharmonic tones:

• 4-3: suspension (4 resolves to 3)
• Other figures indicate intervals and chord quality

When analyzing or composing:

• Identify the underlying chord function first
• Recognize embellishing tones as decorative, not harmonic
• Ensure preparation and resolution follow voice-leading rules

Exam boundary: You must identify and notate suspensions; only identify retardations.