Let's Meet the Neighbors! (Both Upper and Lower)
As the title suggests, today we're going to "meet the neighbors" - on both ends. Each is a heralded member of the Embellishment family, with a long history of service and support for the Universal Community of Musical Endeavors (UCME).
Get to know them well - for they are your friends - and can magically turn a bland musical offering into a more daring and exciting one.
I've invited them over for tea and crumpets, so hang out here for a moment and keep reading.
Ahhh, here they are now!
Get to know them well - for they are your friends - and can magically turn a bland musical offering into a more daring and exciting one.
I've invited them over for tea and crumpets, so hang out here for a moment and keep reading.
Ahhh, here they are now!
These "neighbors" are described, in musical terms, according to how they "approach" a target note (usually a chord tone or scale tone) that they "enclose". That's why these upper and lower neighbors are also referred to as "approach notes" or "enclosures". An approach - upper or lower neighbor - can be a scale or chord tone - or not.
Taking a look at example #1 below, we find a short 2-bar descending melodic sequence - a ii-V7-I cadence in C Major, to be exact. The quartet of 4-note shapes are all similar, if not exact interval carbon copies.
Upon closer inspection, we find that the last two notes of each 4-note grouping all connect via an ascending half-step (E-F, C#-D / B-C, F#-G). The last note of each pair (F, D, C & G) - all being chord tones - are the "targets". The first note is part of the "approach", as well as being designated as the "lower neighbor" in each case.
In examining each lower neighbor / approach note, we find that the E against a D min7b5 would be a chord tone (a Maj 9th) if we considered it as part of the F Melodic Minor system (6th mode - D Locrian #2). If we're thinking instead, of Eb Major (7th mode - D Locrian), it would be a non-scale tone, since there is no E in Eb Major. If we're thinking a straight G (Bb, C#, E) half / whole step Diminished Scale, they'd all be scale tones.
Likewise, over the next chord (G7), the C# could be considered a non-scalar lower neighbor, as it resolves up a semitone to the target note D. The sequence continues over the bar line with diatonic Mixolydian material before resolving to the C Maj tonic. The F#, as the next to last note (like the C# in the previous bar) is probably best looked at as a non-scalar lower neighbor, rather than as a #11, before resolving to the target note G. The point here is that the labeling, while not of primary importance, depends on context, as well as one's intention.
Ex. 1 - A 2-bar ii-V7-I sequence featuring four 3-note enclosures, with the target being the final note of each 4-note cell.
Taking a look at example #1 below, we find a short 2-bar descending melodic sequence - a ii-V7-I cadence in C Major, to be exact. The quartet of 4-note shapes are all similar, if not exact interval carbon copies.
Upon closer inspection, we find that the last two notes of each 4-note grouping all connect via an ascending half-step (E-F, C#-D / B-C, F#-G). The last note of each pair (F, D, C & G) - all being chord tones - are the "targets". The first note is part of the "approach", as well as being designated as the "lower neighbor" in each case.
In examining each lower neighbor / approach note, we find that the E against a D min7b5 would be a chord tone (a Maj 9th) if we considered it as part of the F Melodic Minor system (6th mode - D Locrian #2). If we're thinking instead, of Eb Major (7th mode - D Locrian), it would be a non-scale tone, since there is no E in Eb Major. If we're thinking a straight G (Bb, C#, E) half / whole step Diminished Scale, they'd all be scale tones.
Likewise, over the next chord (G7), the C# could be considered a non-scalar lower neighbor, as it resolves up a semitone to the target note D. The sequence continues over the bar line with diatonic Mixolydian material before resolving to the C Maj tonic. The F#, as the next to last note (like the C# in the previous bar) is probably best looked at as a non-scalar lower neighbor, rather than as a #11, before resolving to the target note G. The point here is that the labeling, while not of primary importance, depends on context, as well as one's intention.
Ex. 1 - A 2-bar ii-V7-I sequence featuring four 3-note enclosures, with the target being the final note of each 4-note cell.
Listen
So, what about the first two notes of each 4-note cell (Bb-Ab, G-F / F-E, D-C)? The answer you've been patiently waiting for is:
The first 3 notes of each 4-note group form a 3-note approach (+st,+ct,-ch,ct = scale tone from above to chord tone from above to chromatic from below to chord tone as target). In the case of the B in the second bar, it's both a scale and chord tone, as well as a chromatic lower neighbor.
So now that you've met your neighbors, it's a real good idea to keep in touch. Downloading the PDF and taking the above sequence through the 12 keys is a great start toward becoming lifelong pals!
B. Stern
The first 3 notes of each 4-note group form a 3-note approach (+st,+ct,-ch,ct = scale tone from above to chord tone from above to chromatic from below to chord tone as target). In the case of the B in the second bar, it's both a scale and chord tone, as well as a chromatic lower neighbor.
So now that you've met your neighbors, it's a real good idea to keep in touch. Downloading the PDF and taking the above sequence through the 12 keys is a great start toward becoming lifelong pals!
B. Stern
Related:
*** A Snakey, Serpentine Warm-Up! ***
*** The Joys of Half & Whole Steppin'! ***
*** Flip 4 Real! - Using Mordents in a ii-V7 Melodic Line ***
*** A Snakey, Serpentine Warm-Up! ***
*** The Joys of Half & Whole Steppin'! ***
*** Flip 4 Real! - Using Mordents in a ii-V7 Melodic Line ***
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