Escapes, Neighbors, and Other Non-Harmonic Tones

[@kguy152000]

Best most concise explanation, especially regarding incomplete neighbor tones, and the admittance that no one seems to agree as to what an appogiatura is.

[@12tone]

Yeah, appoggiaturas are such a weirdly hot-button issue with theorists. I have no idea why.

[@columbus8myhw]

All the examples sound so nice; it's hard to imagine that they've been written for this video rather than pulled from actual songs.

[@12tone]

Thanks!

[@matiaspereyra9375]

Guys. I really need help understanding. What I understood about this video is that NH tones need to be resolved with another chord tone and whether we start with them or whether theyre following some other chord tone. However im still puzzled about a couple things, So do passing tones require my first note and my resolution to be exactly a third apart, and. thus I slide through them with a NH tone found between them? When I use incomplete neighboring tones do they need to be exactly a whole step away from one of my chord tones and a random distance away from the resolution? How do I know where to place my NH tone in relationship to my other chord tone that isnt a whole step away? What does a "leaps away" entail? Does it even matter? So is prepared appogiatura the same thing as passing and neighboring tones, but occurs on an accented beat? And so is it safe to say that unprepared appogiatura is basically jarring the listener on purpose?

[@MaemiNoYume]

about Appoggiatura, they are essential. So essential, that I can't imagine creating a song without them and I don't put them on purpose! I don't think "lets put a appoggiatura here", I neve think that. I just think "this B sounds really nice on top of this F major chord, and then a passing A to end in the G". Notes outside the chord that sound better in the accented beat than the notes of the chord. It's all about feel and training your ear. I think the most important advice about creating melodies is this: "Train your ear to understand and feel dissonance, so that you don't ever need to try running from them".. but this is a complicated advice and can be misunderstood..

[@jamessnowden1833]

In the UK appoggiaturas are something completely different. The are an embellishment composed of one or more notes that collectively last half as long as the main note while halving the main note's length.

[@AbhiBass96]

Exactly. In the EU thats the defination which I learnt.

[@marchelridgeway]

So what does the video mean when you write with your right hand? Ha I've seen multiple videos and note that you switch hands once and a while, is there a reason? Edit I forgot to mention how much I enjoy your videos. You're doing a great job! Keep up the great work!

[@12tone]

Thanks! The right-handed animator actually isn't me: It's a friend of mine who used to do the animations for us before he moved away. So what it means is that the video's old enough that it happened while he was still working with us!

[@renniechen1918]

This video was rlly helpful thanks :)

[@12tone]

+rennie chen Glad we could help. Thanks for watching!

[@ninetyone9191]

The Harvard Concise Dictionary of Music and Musicians agrees with your definition of an appogiatura so I'm going to go with that

[@luckylucas8596]

Not to start a huge argument, but my Music Theory teacher taught me that an appoggiatura was the opposite of an escape tone where you move away from the chord tone by a skip and resolve in contrasting motion from the skip by a step (the escape tone being vice-versa). Of course my course was rooted in the theories of Fux, Bach, and the Baroque period of writing, so I imagine that the definitions of these non-harmomic tones changed over time.

[@12tone]

Interesting, I hadn't heard that definition before! If I'm understanding you correctly, I'd call that a Reaching Tone, but the exact definition of appoggiatura has always been difficult to nail down.

[@luckylucas8596]

12tone I appreciate your content and information as always, 12tone. If this is anything to note, I didn't learn about incomplete neighboring tones in my Music Theory class. The greatest skips we were allowed to right or note were thirds, and those were escape tones and that version of appoggiaturas. Ultimately though, I like your explanations of non-harmomic tones because it seems a lot less constraint.

[@duncanrobertson6472]

This is what I was taught as well, had no idea there was debate over the definition

[@soyoltoi]

I learned this as well, and that suspensions/retardations are what this video calls prepared appoggiaturas except that they're approached by a common tone rather than a step.

[@matiaspereyra9375]

Guys. I really need help understanding. What I understood about this video is that NH tones need to be resolved with another chord tone and whether we start with them or whether theyre following some other chord tone. However im still puzzled about a couple things, So do passing tones require my first note and my resolution to be exactly a third apart, and. thus I slide through them with a NH tone found between them? When I use incomplete neighboring tones do they need to be exactly a whole step away from one of my chord tones and a random distance away from the resolution? How do I know where to place my NH tone in relationship to my other chord tone that isnt a whole step away? What does a "leaps away" entail? Does it even matter? So is prepared appogiatura the same thing as passing and neighboring tones, but occurs on an accented beat? And so is it safe to say that unprepared appogiatura is basically jarring the listener on purpose?

[@docenji]

Nice, just discovered your channel, love it. That's an old video now but i have one question : does those rules apply to chromatic notes ? I mean like diatonic non harmonic tones, in the same way but with non diatonic notes.

[@michaellorden8150]

This was rad, gotta catch em all

[@gracechristinehansen]

Subscribed, thank you! :)

[@matiaspereyra9375]

Guys. I really need help understanding. What I understood about this video is that NH tones need to be resolved with another chord tone and whether we start with them or whether theyre following some other chord tone. However im still puzzled about a couple things, So do passing tones require my first note and my resolution to be exactly a third apart, and. thus I slide through them with a NH tone found between them? When I use incomplete neighboring tones do they need to be exactly a whole step away from one of my chord tones and a random distance away from the resolution? How do I know where to place my NH tone in relationship to my other chord tone that isnt a whole step away? What does a "leaps away" entail? Does it even matter? So is prepared appogiatura the same thing as passing and neighboring tones, but occurs on an accented beat? And so is it safe to say that unprepared appogiatura is basically jarring the listener on purpose?

[@mbell5950]

What’s with the imposter? Voice is different, hand drawn art is different, sound quality is different, it’s a right handed person vs normally a left handed person, and the arms are different.

[@masicbemester]

yeah, those ait't regular elephants, they're Dumbo

[@allout3368]

Great Knowledge!

[@mvlmvlg5417]

I thought you were left handed?

[@MediHusky]

I just realised Let it go uses an Appoggiatura on the first fucking bar and I just wish I could delete the part of my brain that has that song stored wtf.

[@Patrick_Bruno]

Too bad that one cannot read what you write, either because it's too small or because you remove it too fast. :-(

[@Goremachine]

Are there any rules for the resolution of appogiaturas, as they are defined in this video?

[@Deguoren96]

From experience I would say that it is probably smart to use those non harmonic tones on syncopated beats and then resolve them on strong beats . I like to think of them as short tensions (melody wise ) that have a strong pull back to chord tones to resolve. Hope that helps

[@charlesdtall1954]

I know this comment is from so long ago, but explaining things helps me process my own knowledge so I'll reply anyway: If you did want to us an appogiatura as described in the video, I think it would be smart to resolve it a step away depending on the direction it comes from. If it's prepared (approached by step), you can disguise the harshness of the note by continuing in the direction from which you came, almost like a delayed passing tone. Though it would be worth experimenting with the same concept but disguising it as a neighbor tone (resolve back to the note it came from). As for jumping right to the dissonance from a distance (unprepared), it's typically considered more melodic to start heading in the opposite direction you leaped from. If you leap down to hit the note, try resolving a diatonic step up (or to the closest chord tone) and head in that direction for a few notes.

[@matiaspereyra9375]

Guys. I really need help understanding. What I understood about this video is that NH tones need to be resolved with another chord tone and whether we start with them or whether theyre following some other chord tone. However im still puzzled about a couple things, So do passing tones require my first note and my resolution to be exactly a third apart, and. thus I slide through them with a NH tone found between them? When I use incomplete neighboring tones do they need to be exactly a whole step away from one of my chord tones and a random distance away from the resolution? How do I know where to place my NH tone in relationship to my other chord tone that isnt a whole step away? What does a "leaps away" entail? Does it even matter? So is prepared appogiatura the same thing as passing and neighboring tones, but occurs on an accented beat? And so is it safe to say that unprepared appogiatura is basically jarring the listener on purpose?