MU207 Applied Music Techniques

Week 1_Lecture 1bi: 26 September 2013

The Unaccented Passing Note

Introduction
Some quotations:
Passing notes ‘[...] simply fill in the gap of a third in a musical line’ (Pratt, The Dynamics of
Harmony, p. 75).
‘A passing note is a form of “unessential note”, that is, it does not form part of the chord
against which it is heard. Two harmony notes a 3rd apart may be joined by introducing a passing
note [...]’ (Lovelock, First Year Harmony, p. 36).

Passing notes (PN) can be either Unaccented (UPN) or Accented (APN) and the above statements can
apply to either form. This lecture will consider exclusively the Unaccented Passing Note (UPN).

The UPN is an unessential note that is inserted between two important or essential notes that are a
third apart. This unessential note is usually dissonant with the bass.

What’s the difference between Accented and Unaccented Passing Notes?

UPNs occur on weak or unaccented beats, i.e., ‘off-the-beat’. APNs occur on strong or accented
beats, i.e., ‘on-the-beat’.

TIP: To remember the difference, think:

Accented = Strong  occurs on a strong beat

Unaccented = Weak  occurs on a weak beat

Why use them?

Passing notes of either kind, in conjunction with ‘auxiliary’ notes (will be discussed in a later lecture)
add variety to a musical passage, melodically, harmonically and rhythmically. However, be careful
not to overload a passage with PNs as this causes congestion and detracts from the main musical
line.

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Formations & Occurrences
Basic Occurrence:
1 An UPN can only work when it links two strong beats either side, i.e., it forms a strong-weak-strong
movement. Otherwise, it becomes an APN.

2 UPNs may ascend or descend when in use (only by step, no jumps) and can be applied to any voice
(by voice I mean any particular line written for an instrument/sung voice part).

It is important to note that PNs must be approached and left by step in the same direction,
either ascending or descending. Otherwise, they cannot be termed ‘passing’.

3 UPNs can occur either i) singularly or ii) in a combined format with another UPN (different voice) in
either parallel thirds or sixths.
An extension of this combined format is found when the UPN is located in two separate voices
moving in contrary motion. Here, both lines will begin on the same note and move in opposite
directions. They must however be at least an octave apart and are generally one or two octaves
apart.

It is important to note that passing notes of any kind do not affect the harmony as it is
written, therefore they must not be harmonised by all parts as this would alter the harmonic
progression at that point!

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Rhythmic Breakdown of the UPN
1 If the metre of the composition is ‘simple’ (i.e., each beat of the metre can be divided evenly into
two beats, e.g. each crotchet in 2/4, 3/4, 4/4 can be divided into two quavers), the UPN may be
either a half or a quarter of the beat value:

2 If, however, the metre is ‘compound’ (i.e., each beat of the metre can beat divided evenly into
three beats, e.g. each dotted crotchet in 6/8, 9/8, 12/8 can be divided into three quavers), the UPN
may be either worth a third or more often a sixth of the beat’s value:
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Harmonic Considerations
1 The UPN will always create a dissonance with the bass as the linking notes will be a third apart,
meaning they are harmonising consonantly with the bass note, i.e, they are forming a vertical chord.

2a) UPNs may be doubled in two parts/voices in thirds or sixths. Refrain from overloading the
texture by having more than two voices. Thinking logically: if we are writing for SATB or string
quartet and place UPNs in three of the four voices, this passage will overpower the melody and
harmony lines causing congestion and a muddy texture – not very nice to listen to!

2b) When doubling UPNs in thirds and sixths, retain the same rhythmic values in each voice, e.g., do
not have even quavers in one part and a dotted quaver-semiquaver formation in the other.

3 When doubling UPNs, watch out for consecutives, either directly or indirectly.

REMEMBER: As with all harmonic progressions, take care not to create consecutive or
exposed perfect fifths &/or octaves when adding either type of PN:

Perfect 5ths

4 Related to harmonic considerations is the problem of blurred or muddy textures. This will happen
if crossing or near-crossing of voice parts and/or creation of the interval of a second occurs.
a) Voice parts cannot cross or nearly cross as this creates a muddy texture by the fact that the parts
must be very close sonically.
b) In the case of the interval of a second, either omit the PN at this point or rearrange the lines to
make it work. This may also happen with the compound second, or ninth.

5 When working in a minor key, the sixth degree of the scale is always raised by a semitone; in
addition, the seventh degree of the scale is always lowered by a semitone. The reason for this is to
avoid an augmented 2nd.

TIP: Remember, when considering the use of a Passing Note:

A passage which is incorrect harmonically without passing notes is equally incorrect with them –
PNs do not affect the written harmony – they will not fix a harmonic problem!

B Dignam 26.09.13