In the previous unit, we learned what non-chord tones and embellishments were, and we went in-depth about passing tones and neighbor tones. In this section, we will learn how to write passing and neighbor tones according to 18th-century voice leading conventions. First, however, let’s review what passing and neighbor tones are.
Review of Passing Tones and Neighbor Tones
Passing Tones
A passing tone in music is a non-chord tone that is played or sung briefly as a transition between two chord tones in a melody or harmony. It is typically used to create a sense of movement or tension and release in a piece of music. They are used to connect or "pass" between the strong and stable tones of a chord, adding a sense of motion and flow to the music. If there are skips or leaps between successive chords in a harmonic progression, adding a passing tone or multiple passing tones can also help to improve voice leading and ensure that voices are mostly moving in a stepwise manner.
Let’s consider an example, where we move from a I chord to a iii chord in a melody. In the bass line, we will have a tonic followed by a mediant. In between the tonic and mediant, we might add a supertonic passing tone so that the bass line moves stepwise from the tonic to the supertonic to the mediant. For example, if we are in Ab Major, we might have an Ab-Bb-C melody in the bass line.
Most of the time, though, we add melodic embellishments and non-chord tones to the upper voices – specifically the soprano line. This is because when you are playing music, your ears usually interpret the higher notes as the “melody line,” and the lower notes as the harmonic accompaniment. So, when adding passing tones, focus on incorporating them into the soprano line.
It is okay to add multiple passing tones between two voices. For example, if the soprano voice must leap from a C to an F, you can add a D and an E between the two chord tones. Be careful to make sure that you are counting correctly when you do this! For example, if the harmonic rhythm is in half notes, it would be wrong to add three quarter notes in passing tones in the soprano line. Instead, you may consider having the chord tone be a quarter note, and the two passing tones following it to be eighth notes. Unless you are writing a suspension, which we will cover in later units, it should always be the case that the chord tone falls on the “harmonic beat,” so to speak.
Usually, passing tones, as well as almost all other embellishments, should be written on the weaker beats. However, we can classify passing tones as accented or unaccented. An unaccented passing tone is written on a weaker beat in comparison to the chord tones surrounding it. An accented passing tone is written on a stronger beat than the chord tones surrounding it. As you can see, writing an accented passing tone requires disrupting the harmonic rhythm of the piece, which can be done in order to create tension and rhythmic interest, but was usually done sparingly by composers in the Common Practice Era.
Next, let’s look at an example of passing tones:
Passing tones can also be chromatic, meaning that they don’t fall within the diatonic scale of the key that the piece of music is written in. This often happens when voices are moving stepwise, but the composer still wants to add a passing tone in order to create melodic interest. For example, if a voice is moving from C to D, the composer might add a chromatic passing tone such that the voice goes from C to C# to D. If the composer is connecting a skip or a leap, they might also use part of the chromatic scale in order to add passing tones between the two chord tones. For example, when leaping down from an A to an F, they might add the passing tones G#-G-F# in order to create the chromatic melodic line A-G#-G-F#-F. Chopin’s Waltz Op 69 No 2 gives a good example of these types of chromatic passing tones.
Neighbor Tones
A neighbor tone in music is a non-chord tone that is played or sung immediately before or after a chord tone within a melody or harmony. Neighbor tones are used when a chord tone is sustained from one chord to another, meaning that the note in the voice stays the same for both chords. In this case, adding a neighbor tone means adding a note above or below the sustained note. For example, if there is a C in the soprano voice that is sustained for two chords, you can step down such that you have a C-B-C melody in the soprano voice.
A neighbor tone is similar to a passing tone in that it is used to create a sense of movement or tension and release in a piece of music, but it typically stays within a smaller range and returns to the same chord tone it started from. Neighbor tones are often used to create a sense of ornamentation or decoration in a melody and can be used to create a sense of anticipation or delay in the resolution of a chord. There are two types of neighbor tones: upper neighbor and lower neighbor. An upper neighbor tone occurs when a note is approached by a note of a higher pitch and then returns to the original note. A lower neighbor tone is when a note is approached by a note of a lower pitch and then returns to the original note.
Here is an example of a neighbor tone:
Just like passing tones, neighbor tones can either be diatonic (meaning that the neighbor tone is within the diatonic scale of the key that the piece is written in) or they can be chromatic (meaning that the neighbor tone is outside of the diatonic scale that the piece is written in). Either way, in order to be classified as a neighbor tone, the voice must move stepwise. In a C-E-C melody, the E would not be considered an upper neighbor tone. (It is actually an escape tone, which we will learn about in section 6.3).
Writing Passing and Neighbor Tones
In 18th-century style Western music, it is common to write passing and neighbor tones in one of the outer voices – typically the soprano line, but sometimes also the bass line. If you write passing or neighbor tones in the soprano line, you have significant freedom regarding where to place these tones and, sometimes, regarding whether they are accented or unaccented. By convention, though, both passing and neighbor tones in the soprano line are written as unaccented non chord tones.
One of the reasons why most of the melodic embellishments happen in the soprano line is that it is more acceptable for the bass line to have skips and leaps compared to the soprano line. Therefore, if other voice leading considerations necessitate a leap in the soprano line, it would be pragmatic to add a few passing tones in order to ensure that the soprano line moves stepwise.
Another reason why most melodic embellishments are written in the soprano line is because the soprano line is usually “heard” as the primary melodic line by listeners, since it is in the highest register. Hence, composers try to embellish the soprano line because it is more impactful in terms of adding expression and melodic interest to a piece of music.
When writing non chord tones in the bass line, you should usually accompany them with a stationary soprano line, meaning that both the soprano lines and bass lines should not be moving at the same time. If all of the chords occur on a quarter note, for example, then it would be appropriate to insert a passing tone or a neighbor tone on the eighth note, such that the non chord tone occurs on a weak beat, and the chord tones both occur on the beat or the harmonic rhythm. Similarly, if the chords progress by half note, you can add a quarter note as a passing or neighbor tone, or perhaps three eighth notes as passing tones between the lines.
Another consideration when adding non chord tones to the bass line is voice exchange, in which the bass line swaps notes with the soprano line. For example, if the bass line moves up stepwise G-A-B, where A is a passing tone, and the soprano voice moves down by leap from B to G, this would be voice exchange between the soprano and bass lines. If you can achieve this in your music, adding non-chord tones in the bass line between the exchanged voices sounds really beautiful.
Here is an example of voice exchange:
Finally, if the bass line moves in parallel thirds or sixths with the soprano line, then it might be a good idea to add some non-chord tones in the bass line to add tension to the parallel consonant intervals.
Frequently Asked Questions
What's the difference between a suspension and a retardation in music theory?
A suspension and a retardation are both nonharmonic (embellishing) tones that are prepared, sound against a new harmony, then resolve by step—but they differ in the direction of resolution and exam treatment. - Suspension: the nonharmonic tone is prepared as a chord tone, becomes a dissonance on a strong beat, then resolves DOWN by step to a chord tone. Common types: 4–3, 7–6, 9–8. You’ll also see accented vs. unaccented, rearticulated suspensions, and chains of suspensions. On the AP exam you must be able to identify and NOTATE suspensions (CED PIT-2.O / PIT-2.M). - Retardation: prepared like a suspension and sounds as a dissonance, but it resolves UP by step. Retardations are identified only—you don’t have to write them on the exam (CED boundary statement for PIT-2.M.5). For more examples and practice, see the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and Unit 6 overview (https://library.fiveable.me/music-theory/unit-6). Practice problems are at (https://library.fiveable.me/practice/music-theory).
How do I write a 4-3 suspension in figured bass notation?
Write it exactly as an Arabic-number suspension above the bass: show the upper voice as a 4 over the bass that then resolves to a 3—usually written as "4–3" (with a dash) above the bass note or above the bass line where the suspension occurs. That tells the performer: the tone is prepared (consonant), is held over so it becomes a dissonant 4th above the bass, then resolves down a step to a 3rd. Quick checklist: - Preparation: the 4 is a chord tone on the beat before the suspension. - Suspension: the same upper tone is held while the bass (or harmony) changes, creating the dissonant 4 above the bass. - Resolution: the upper voice moves down by step to the 3 (a consonance). On the AP exam you’ll be expected to notate suspensions this way (CED PIT-2.O.1). For more examples and practice, see the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and try problems at (https://library.fiveable.me/practice/music-theory).
I'm confused about when to use suspensions vs other nonharmonic tones - can someone explain?
Think of a suspension as a specific kind of nonharmonic tone that’s prepared as a chord tone, held (usually tied) into the next chord so it becomes dissonant, then resolves down by step to a chord tone. Key signs it’s a suspension: preparation (same pitch on the strong beat), dissonance on the strong beat, and stepwise downward resolution (4–3, 7–6, 9–8 are common). Rearticulated suspensions are prepared but re-struck; chains are successive suspensions across chords. Other nonharmonic tones work differently: passing tones connect chord tones by step; neighbor tones step away and back; anticipations arrive early and match the next chord; appoggiaturas are approached by leap then resolve by step. Retardations are like suspensions except they resolve UP by step; on the AP exam you must identify retardations but only notate suspensions (you may see numerals like 4–3 in figured bass). For practice, use the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and hundreds of practice problems (https://library.fiveable.me/practice/music-theory).
What does the Arabic numeral notation like 4-3 mean in figured bass?
In figured bass, a marking like 4–3 tells you there’s a suspension: the upper voice sounds a 4th above the bass on one beat (a prepared consonance held into a dissonance), then resolves down by step to a 3rd above the bass on the next beat. So 4–3 means “hold the voice so the interval above the bass is 4, then resolve it to 3.” Suspensions follow the preparation → suspension (dissonance) → resolution pattern; common AP suspensions are 4–3, 7–6, and 9–8. On the AP exam you must be able to identify and notate suspensions from figured bass (CED PIT-2.O and PIT-2.M); you only need to identify retardations. For more practice and examples, see the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and the practice problems page (https://library.fiveable.me/practice/music-theory).
How do I identify suspensions when I'm listening to music for the AP exam?
Listen for a note that’s held from the previous chord (the preparation), becomes a dissonance when the harmony changes on a strong beat, then resolves down by step to a chord tone (the resolution). That three-part pattern—preparation → dissonance → resolution—is the hallmark of a suspension. Common types you’ll hear on the exam: 4–3, 7–6, and 9–8 (numbers refer to interval above the bass). Accent matters: an accented suspension occurs on a strong beat; unaccented happens on a weak beat. Rearticulated suspensions sound like the voice re-attacks the same pitch; a chain of suspensions is several voices doing suspensions in sequence. Retardations are similar but resolve up by step—you only need to identify them, not write them (CED PIT-2.M boundary). For practice listening and examples, check the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and the Unit 6 overview (https://library.fiveable.me/music-theory/unit-6). For more drills, use Fiveable practice problems (https://library.fiveable.me/practice/music-theory).
Can someone explain what a rearticulated suspension is and how it's different from a regular one?
A regular suspension is a nonharmonic tone that’s prepared (it’s a chord tone on the beat before), then sustained into the next chord where it becomes dissonant and resolves down by step to a chord tone. It has three parts: preparation → suspension (dissonance) → resolution. A rearticulated suspension differs in how the suspended tone is treated at the moment of dissonance: instead of being held (tied) into the dissonant beat, the same pitch is re-attacked or re-struck on the new chord and then resolves by step. Functionally it still creates the prepared-dissonant-resolution pattern, but the suspension is produced by re-articulation (a repeated pitch) rather than a literal tie. You’ll see both named in the CED (PIT-2.M.5); on the AP exam you may need to identify or notate suspensions (including rearticulated ones). For extra practice and examples, check the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and try problems at (https://library.fiveable.me/practice/music-theory).
I don't understand how to notate suspensions in Roman numeral analysis - help?
Think of suspensions in Roman numerals as two parts: the underlying chord (Roman numeral) and the intervallic label showing the dissonance and its resolution (Arabic numerals). On the AP exam you should: - Write the Roman numeral for the harmony (e.g., V). - Add the suspension as interval numbers showing the dissonant interval then the resolution (e.g., V 4–3, V 7–6, I 9–8). That tells the grader the nonharmonic tone and its resolution. - Make sure the suspension fits voice-leading conventions: it’s prepared (same note as previous chord), tied or held into the chord where it’s dissonant, then resolves down by step to the consonance. - You may also show chains or rearticulated suspensions the same way (e.g., V 4–3 chained). Reminder: AP CED requires you to notate suspensions (but only identify retardations). For quick review, see the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and practice problems (https://library.fiveable.me/practice/music-theory).
What's a chain of suspensions and how do I recognize one in sheet music?
A chain of suspensions is a series of suspensions in the same voice where each resolved note becomes the preparation for the next suspension. In notation you’ll see: a voice holds or reattacks a note (the preparation), that note sounds as a dissonance against the new harmony on a strong beat, then resolves down by step to a consonance—and immediately (or in the next chord) the new consonant becomes the preparation for another dissonance. Common patterns: 9–8 → 7–6 → 4–3, or repeating 4–3 across several chords. How to spot one in sheet music: - Look in one voice for repeated tied/held notes or repeated rearticulations that clash with changing harmonies. - The dissonance occurs on a strong beat and resolves downward by step on the next beat. - If that resolved pitch is then held or reattacked and becomes the next dissonance’s preparation, you’ve got a chain. On the AP exam you must identify suspensions (and chains) in notated music (CED PIT-2.M.5). For practice, check the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and try problems on Fiveable’s practice page (https://library.fiveable.me/practice/music-theory).
How do I know if a nonharmonic tone is a suspension or just a passing tone?
Look for three things: preparation, dissonance on a strong beat, and resolution by step. A suspension is a chord tone that’s held (prepared) into the next chord so it becomes a nonharmonic tone on a strong beat (often accented), then resolves down by step to a consonance—e.g., a 4–3 or 7–6 suspension. A passing tone, by contrast, fills stepwise between two harmonic tones, usually on weak beats, is not prepared by being held from the previous chord, and doesn’t insist on resolving down by step to a chord tone (it continues the scalar motion). Quick checklist: (1) Was the tone the same pitch in the prior chord? (prep → yes suggests suspension). (2) Is it on a strong beat and dissonant against the harmony? (yes → suspension). (3) Does it resolve by step to a chord tone? (yes → suspension). If answers are no and it’s filling stepwise between chord tones on weak beats → passing tone. On the AP exam you must identify suspensions (CED PIT-2.M); practice these with the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and more problems (https://library.fiveable.me/practice/music-theory).
Do I need to be able to write retardations on the AP exam or just identify them?
Short answer: you only need to identify retardations on the AP exam—you don’t have to write (notate) them. The CED’s boundary statement says students must identify and notate suspensions, but only identify retardations (PIT-2.M.5). So for free-response and multiple-choice, be ready to spot a retardation in performed or notated music and label it, but you won’t be asked to create one from figured bass or a Roman-numeral progression. That said, study suspensions carefully—you must both identify and write common types (4–3, 7–6, 9–8, rearticulated, chained, accented/unaccented) because PIT-2.O and PIT-2.M are assessed. Review Topic 6.4 on Fiveable (study guide: https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and practice problems (https://library.fiveable.me/practice/music-theory) so you can reliably label retardations and notate suspensions.
What are the rules for resolving suspensions properly in four-part writing?
Rules for resolving suspensions in four-part writing (AP style): - Preparation: the suspended note must be prepared—it’s consonant in the previous chord and then tied or held into the next chord where it becomes a dissonance. - Resolution: the suspension resolves down by step (usually a 2nd) to a consonance in the same voice. Common types: 9-8, 7-6, 4-3 (and their accented/ unaccented or chained forms). - Voice leading: keep each suspension in one voice (no cross-voice resolution), avoid parallel perfect 5ths/8ves when moving into or out of the suspension, and maintain proper doublings (don’t double leading tone). - Accented vs unaccented: accented suspensions occur on a strong beat and must still prepare and resolve properly; unaccented ones occur on weak beats and often act like passing tones. - AP exam note: you must be able to identify and notate suspensions (CED PIT-2.M / PIT-2.O). Retardations are identified only. For examples and practice, see the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and try extra problems at (https://library.fiveable.me/practice/music-theory).
I'm working on my music theory portfolio - should I include examples of different suspension types?
Yes—include examples of different suspension types. The CED expects you to identify and notate suspensions (and identify, notate optional for figured bass) and only identify retardations on the exam, so your portfolio should show you can do both. Make sure you include: - Common interval types: 4–3, 7–6, 9–8 (each notated and labeled). - Accented vs. unaccented suspensions (show prep → dissonance on a strong vs. weak beat → resolution). - Rearticulated suspension and a chain of suspensions (show how prep and resolution move between voices). - One example where a suspension is indicated in figured bass/Roman numerals (use Arabic numbers like “4–3” to show the nonharmonic tone). Label preparation and resolution for each example. For retardations, include a couple labeled examples (identify only). For extra practice and model problems, see the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and Unit 6 overview (https://library.fiveable.me/music-theory/unit-6). For drills, try Fiveable’s practice bank (https://library.fiveable.me/practice/music-theory).
How do I practice identifying embellishing tones like suspensions in real musical examples?
Start small and systematic. First learn the signature features: a suspension is a prepared chord tone held over (preparation) that becomes a dissonance against the new harmony and resolves down by step (resolution)—common types: 4–3, 7–6, 9–8; also rearticulated, accented/ unaccented, and chains. Retardation is like a suspension but resolves up; on the AP exam you only need to identify retardations, not notate them (CED PIT-2.M). Practice routine (30–45 min sessions): - Scan scores (Bach chorales, SATB exercises) and mark chord tones vs nonharmonic tones. Label preparations and resolutions when you find a dissonance. - Clap/sing the upper voice while playing the harmony to hear the dissonance → resolution. - Do figured-bass/RN drills: write the suspended note as an Arabic numeral (e.g., 4–3) and realize it in four parts (CED PIT-2.O). - Time yourself: identify/notate suspensions in 10 short excerpts. Use Fiveable’s Topic 6.4 study guide for focused examples (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw), review the whole unit (https://library.fiveable.me/music-theory/unit-6), and drill 1000+ practice questions (https://library.fiveable.me/practice/music-theory).
What's the step-by-step process for writing a suspension from a figured bass symbol?
1) Read the figured bass numeral (e.g., 4–3, 7–6, 9–8) to identify the suspension type and which interval above the bass is the dissonance. 2) Locate the chord whose bass supports the suspension (the resolution chord) and the preceding chord where the suspended tone is prepared. The preparation must be a chord tone on a strong beat. 3) In the voice you choose, write the preparation (same pitch) on the beat that belongs to the earlier chord so it sounds consonant with that chord. 4) On the resolution chord, keep the suspended pitch the same across the chord change (creating the indicated dissonant interval above the new bass). 5) Resolve the suspended pitch down by step to the resolution tone on the next indicated (usually weaker) beat (e.g., 4→3, 7→6, 9→8). 6) Check doubling and voice-leading: avoid parallel fifths/octaves, don’t double leading tone, keep spacing normal, and keep common tones where possible. On the AP exam you only need to notate suspensions (CED PIT-2.O, PIT-2.M). For practice and worked examples, see the Topic 6.4 study guide (https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw) and more problems at (https://library.fiveable.me/practice/music-theory).
Why do some suspensions sound more dissonant than others and does that matter for identification?
Some suspensions sound more dissonant because of their interval, metrical placement, and context. A dissonant suspension is usually a second (7-6 or 9-8 above the bass) or a 4 above the bass that clashes with the underlying harmony; a 4-3 or 9-8 often feels less harsh than a 7-6 because of size and how it resolves. Accented suspensions (on a strong beat) and suspensions that are isolated in a thin texture or high register also seem sharper. Preparation (same tone before the dissonance) and smooth stepwise resolution down are what make it a suspension rather than a random dissonance. For AP identification you don’t need to judge “how dissonant”; you must identify the type by its preparation, the sounding interval above the bass (e.g., 4–3, 7–6, 9–8), and the resolution. Remember: you’ll notate suspensions on the exam and only identify retardations (they’re like suspensions but resolve upward) (see the Topic 6.4 study guide: https://library.fiveable.me/music-theory/unit-6/identifying-writing-suspensions;-identifying-retardations/study-guide/MTmgSE1WwoFrPavalhGw). For more practice, try the unit review and 1,000+ practice questions (https://library.fiveable.me/unit-6 and https://library.fiveable.me/practice/music-theory).