More NCT’s → Appoggiatura’s, Escape Tones, Suspensions and Retardations
Henry Purcell: Strike the Viol m. 1-14
Circle and label NCTs “app,” “e,” “s,” “r”, as well as “p” and “n”
- Identify key, provide Roman numerals and circle all NCTs for m. 1-14.
- Label all NCT’s that are appoggiaturas, escape tones, suspensions, retardations, passing tones, and neighbor tones
o Can you further clarify these as diatonic, chromatic, and/or (un)accented?
o Do these types of NCT’s occur as frequently in the vocal part as the accompaniment?
o What is the ratio of NCT’s to chord-tones overall?
- How many NCT’s have you circled that you cannot identify?
o Does it relate to an ambiguous bass line and ability to clearly identify the chords?
o This is a very repetitive harmonic pattern. When does it deviate?
o How does Purcell play with this rhythmic pattern and similarities or changes to the chord progressions?
o The D# is a chord tone for the V chord. Is there an instance where it is an NCT above a different chord?
o How many chromatic notes are in this segment?
- Make a graph of the harmonic rhythm with Key and Roman numerals
- Play a single bass line from this graph in at least two other minor keys
- Systematically apply every type of NCT we have learned thus far in real time as a melodic note above one of these bass lines.
- You can do one at a time, or multiple NCTs
- If you are able, you can do this exercise with blocked chords or a simple configuration of your choice beneath this improvised melodic line. If not, just stick to a single note in the bass.
- Which NCT’s prove to be the most difficult and conversely the easiest to add?
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