Continuity tone

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A passage tone (also: passage note or passage ) fills the space between two consonant or chord-specific tones. This is done through diatonic or chromatic steps ("chromatic passage") and mostly on an unstressed beat position .

For example, in the case of a major triad on c, the note d can act as a transition tone between the root note c and the third tone e , f as the transition tone between the third tone e and the fifth tone g , and the notes a and h as the transition tone between the fifth tone g and the root c :

\ new PianoStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 4 = 100 \ override Staff.TimeSignature.transparent = ## t \ relative c '' {e4. \ tweak color #red d8 c \ tweak color #red de \ tweak color #red fgg, \ tweak color #red a \ tweak color #red b c4 r4 \ bar "||" } >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c {<ce g> 1 ~ <ce g> 2. r4} >> >>

In contrast to the lead , the continuation (like the alternating note , anticipation or jumping off / jumping secondary note) is usually set to unstressed beats. An exception in this respect is the case referred to by Christoph Bernhard as transitus irregularis , which is now also referred to as semi-difficult passage :

\ new ChoirStaff << \ new Staff << \ set Score.tempoHideNote = ## t \ tempo 2 = 88 \ override Staff.TimeSignature.transparent = ## t \ relative c '' {c2 \ tweak NoteHead.color #red \ tweak Stem.color #red b4 a b2 e ~ e4 dc \ tweak NoteHead.color #red b8 a b1 a \ bar "||" } >> \ new Staff << \ override Staff.TimeSignature.transparent = ## t \ clef "bass" \ relative c {a2 a '~ a4 g \ tweak NoteHead.color #red \ tweak Stem.color #red fe f2 a ~ a g sharp a1} >> >>

Passage chords arise from the simultaneity of passage and chord tones (or exclusively passage tones) in different voices.

literature

  • Thomas Daniel: counterpoint. A set theory for vowel polyphony of the 16th century . Dohr, Cologne 1997, ISBN 3-925366-43-1 .
  • Thomas Daniel: The chorale setting in Bach and his contemporaries. A historical theory of syntax . Dohr, Cologne 2000, ISBN 3-925366-71-7 .

Remarks

  1. ↑ Cf. Christoph Bernhard: Detailed report on the use of the Con- and Dissonanzien . Chapter XII: Of the transit.
  2. ↑ Daniel 1997, pp. 198-201; Daniel 2000, pp. 118-127.

Web links