Dealing with Non-Harmonic Tones – Music Theory

Share it with your friends Like

Thanks! Share it with your friends!


How to work out which notes belong to the harmony and which are non-harmonic tones. In this music theory lesson we take a busy melody in F# minor and explain how to classify all the notes as harmony notes or as non-harmonic tones and inessential notes. Having alighted on a harmonic framework that fits the given melody we explain the various types of non-harmonic tones and inessential notes. We then go through the given melody explaining which notes are harmony notes, which are auxiliary notes, which are passing notes, which are anticipatory notes and which are appoggiaturas, covering chromatic notes on the way. This music theory lesson will be particularly useful for composers and arrangers needing to work with a sensible paced harmonic rhythm in the context of a fast-moving melody.

🔴 Subscribe for more videos just like this:
🎵 Become a Music Matters Maestro:

🕘 Timestamps
0:00 – Introduction to non-harmonic tones and inessential notes
0:22 – Working out the key of the music
3:10 – Non-harmonic tones and inessential notes examples
8:31 – Working through the melodic example

🎓 Learn Music Online with Music Matters
Learn music theory, aural tests, composition, sight reading, orchestration and more! Prepare and practice for music exams and diplomas with Music Matters Courses. Whether you’re just getting started with learning music, or you’re an experienced musician looking to expand your abilities – we have something for you in our course library. With hours of step-by-step training, our courses will truly help you elevate your musicianship skills to the next level.

👥 Social Media

🔗 Affiliate Links

#MusicTheory #MusicMattersHarmony #TheAllRoundMusician


Music Matters says:

Learn Music Online – Check out our courses here!

Michael Taylor says:

Thanks Gareth. Yet another great lesson!

OneEye Monster says:

oh wow…I totally forgot about the aux
It's just easier for me to comprehend certain things because Im on the guitar.
I know all 12 notes WORK…..but if i had to notate it…I'd have to be more careful
or try to make it EASIER for other people to read it

It makes sense to me becuase I play/shuffled the different scales like
aeo maj7
dor maj7
phry maj7
mix maj7
loc maj7

From the Key of C MAJOR/Amin…i still want to NOTATE it in C MAJOR/A min
i might only insert those chords..once or twice…for CADANCE
I dont expect everyone to know the different scales I know.

The Loc maj7 or Ion #6 ( possible C7)….or Mix #2…( possible G
The A# note will makes

or if I play D dorian Maj7 ( C# note)
or E phrygian maj7……….. (D# note)…ect

it'll make sense…If I say I play from the C MAJOR
to the E min chord….but use E melodic min
C Maj…..C# dim….D# dim E min F Maj G Maj into C MAJOR

I could say I used the N6 after C
Db dim Eb aug into E

but music is total COOL….
Im going to use the n6 chord after the after the A min chord..
Bb Maj7..againts the open E string….
Then G min chord….( then simply play the G min7 chord.
Then reach over to play the Bb and Ab note.
Then Eb Maj7…Then play the Db note
It;s EASY…Im just barring complete across the 3rd fret
when I play the'll be sort of G dim.lmao
But im going use the Db as a leading tone into the D min chord..
then just E min …then A min
or D min G7 into C MAJOR…as a simple ii , V , I again
or B Maj7 is a sort of D min…
and E min is a sort of C Maj7…
I might play B Maj7 add#11….C Maj7 to the A min chord…

It happens fast..becuase they sort of like passing CHORDS/Notes
But I PRACTICE it SLOW…to hear the different SOUNDS.
it works becuase MUSIC FLOWS or is in MOTION/Moving

Im basically going to play back to the C MAJOR or Amin chord…different ways.
The key signature/Parent scale is C MAJOR.
The same will happen if I play in A MAJOR/F# min..
yes..I;ll play the the D min or E min chord….while in A MAJOR.
or the B Maj and C MAJOR while in F#
Sometimes I'll play ALL minor chord…except the TONIC chord.
or visa versa…all MAJOR chords except the relative

Krzysztof Mazurkiewicz says:

Bar 2 was the bee's knees! It is exactly what was missing in the otherwise fascinating video about the minor scales. Johann Sebastian Bach consistently used raised sixth and seventh (ascending and descending) over the harmonies having a dominant function (with sixth scale degree as nonharmonic tone). And you didn't even slow down over it, because it is perfectly natural for a musician who has a good grip on the harmony, I presume. By the way, I am not able to analyse any of Bach's work, but I can understand clearly written master thesis "The melodic minor scale in selected works of Johann Sebastian Bach" by Sharon Louise Towndrow, which I discovered on the internet. Thanks a million for this video, the second bar, and a lovely piece of music.

Damiaan Luc van der Werf says:

Thank you so much. I really cannot express my gratitude for your videos. You are an exceptionally wise music teacher and I truly value your willingness to share your vast knowledge. Thank you.

PS: May I personally suggest the topic of the minor plagal cadence? :p (especially when occurring in major key pieces)

Edu "Turupá" Sánchez says:

What's Ic?

Keith Maynard says:

Thank you for this lucid explanation of this elusive information.

Lisa Bradley says:

awesome thanks for this


I was waiting this video for so long

Write a comment

This site uses Akismet to reduce spam. Learn how your comment data is processed.