Notes in a lick that don't fit in the scale associated with the chord












6















enter image description here



Hello! Could someone please give me an explanation about why in the above lick they use G flat (yellow square) instead of G and an E (red circle) instead of E flat, as the Gm dictates?



Thank you in advance!










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  • 2





    What do you think that Gm7 means? (Hint: it's not the key)

    – The Chaz 2.0
    yesterday
















6















enter image description here



Hello! Could someone please give me an explanation about why in the above lick they use G flat (yellow square) instead of G and an E (red circle) instead of E flat, as the Gm dictates?



Thank you in advance!










share|improve this question




















  • 2





    What do you think that Gm7 means? (Hint: it's not the key)

    – The Chaz 2.0
    yesterday














6












6








6


1






enter image description here



Hello! Could someone please give me an explanation about why in the above lick they use G flat (yellow square) instead of G and an E (red circle) instead of E flat, as the Gm dictates?



Thank you in advance!










share|improve this question
















enter image description here



Hello! Could someone please give me an explanation about why in the above lick they use G flat (yellow square) instead of G and an E (red circle) instead of E flat, as the Gm dictates?



Thank you in advance!







theory chords chord-theory






share|improve this question















share|improve this question













share|improve this question




share|improve this question








edited 1 hour ago









Ben Crowell

547211




547211










asked yesterday









HappyCaneHappyCane

504




504








  • 2





    What do you think that Gm7 means? (Hint: it's not the key)

    – The Chaz 2.0
    yesterday














  • 2





    What do you think that Gm7 means? (Hint: it's not the key)

    – The Chaz 2.0
    yesterday








2




2





What do you think that Gm7 means? (Hint: it's not the key)

– The Chaz 2.0
yesterday





What do you think that Gm7 means? (Hint: it's not the key)

– The Chaz 2.0
yesterday










5 Answers
5






active

oldest

votes


















10














You could ask the same about the A note. All three are just passing notes, passing from one 'good' note to another 'good' note. I call them stepping stone notes. They come on unstressed parts of the bar. The stressed points usually being beats 1 and 3. Here the A is & of 1, Gb & of 3 and E & of 4, all weak points where almost any note will not sound too bad. Gb>F>E is a chromatic run, possibly ending on a chord tone on the important 1 in the next bar, Eb perhaps, part of Cm chord? All this presumes it's in key C, with the C key sig - no # or b.



The 'Gm7' dictates nothing. Except that's the chord appropriate in that bar. There's no 'rules' (as we keep saying!); there's only 'theory'. Often in a bar of Gm7 there will be some chord tones - G, Bb, D, F, but that certainly does not preclude use of any of the remaining eight notes, whatever key the piece happens to be in. That concept you (and so many others) adhere to is wrong!






share|improve this answer





















  • 2





    Good answer. There are many interpretations as to what chord symbols mean. In the foreword of Chick Corea's "Paint the World" sheet music book he says something like, he will not add a note in the chord symbol, if it's already stated in the melody. For example if the melody has a B note, a chord symbol "Am7" is enough, and he won't write "Am9" there. So it's up to the reader's subjective judgement to understand if a written melody note is an essential part of the song's harmony idea, or not :) Chord symbols are not a theory-hygienic harmony specification. They're more like accompaniment hints.

    – piiperi
    20 hours ago













  • @piiperi - Mark Levine's Jazz Theory book is full of the opposite!

    – Tim
    20 hours ago






  • 1





    Maybe the problem is that people don't read the forewords and assume that there's one universally "correct" interpretation for everything. And they don't know the culture around these written artifacts. :) I.e. what do people actually do with these things... Nowadays, when everything and everyone is becoming partly machine, music is assumed to be a coded list of mechanical "press these buttons at these instants" instructions. ;) Here's a cool thing that's written as just "E7" in the lead sheet youtube.com/watch?v=nO_xkm9s3rU&t=66s

    – piiperi
    19 hours ago











  • @piiperi - 'Laura' is similar to what Chick said. Some of the melody parts are m9, but the chords are simple m or m7. Although, put together, it makes m9...

    – Tim
    18 hours ago



















7














In general, not every note needs to be considered part of the harmony. You can have notes outside of a chord or key be utilized. Both of these notes are examples of non harmonic tones.



The G♭ is a chromatic passing tone. It is sandwiched between the G and F which are both chord tones. The E is also most likely another non harmonic tone, what it is exactly depends on what comes next. It could be another chromatic passing tone if the next note is an E♭, it could just as easily be an anticipation of what is next especially if you are in the key of A minor or C major which the lack of accidentals in the key signature.






share|improve this answer































    4














    Although for this particular phrase the easiest explanation is "they're simply passing notes" it's worth noting these particular passing notes are a bit like a magic ingredient in the sound of jazz as they are part of jazz minor scale, almost a classic sound in jazz.



    So if you start digging more and analyzing jazz recordings you will come across phrases where the sixth and major seventh over minor chords function as a static tension or a harmonic "color" that doesn't really get resolved.






    share|improve this answer

































      2














      Context is important when trying to understand what the chords are doing, but the Gm7 could be a ii chord, perhaps part of a ii-V7-I progression. The Dorian scale is often used to create phrases over ii chords, and G Dorian includes an E, not an Eb. In fact, the natural sixth degree (the E) is the note that gives Dorian its character.



      In this interpretation, the only other note that needs explaining is the Gb. It is, of course, just a chromatic passing note. But more can be said. Bebop players used to add certain chromatic passing notes to smooth out their phrases; this phrase can be seen as constructed from the G Bebop Dorian scale, with a Gb written in place of F#.



      In other words, this phrase is typical of what might be played over a ii chord in the Bebop idiom.






      share|improve this answer































        2














        The technical term is non-chord tones.



        The other answers already explain these particular NCT's are unaccented passing tones, but there is a complete nomenclature of NCT from classical music that you should review to see the wide range of possibilities. In homophonic (chord based) music a huge amount of melody can be explain as the interplay of chord tones following the harmony and non-chord tones.




        • https://en.wikipedia.org/wiki/Nonchord_tone


        In jazz there is a special type of NCT called an enclosure which you should also review.



        enter image description here




        • https://www.jazzadvice.com/how-to-effectively-use-enclosure/


        The chord/scale system in jazz is an alternate approach from the classical non-chord tones theory. But some other questions/answers here at StackExchange explain that historically - prior to the chord/scale system - jazz improv was largely arpeggiated chords embellished with non-chord tones. The two systems shouldn't be considered mutually exclusive.



        You might want to expand this single question to a general review of the whole topic of non-chord tones. It will deepen your understanding of melody.






        share|improve this answer























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          5 Answers
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          5 Answers
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          active

          oldest

          votes






          active

          oldest

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          10














          You could ask the same about the A note. All three are just passing notes, passing from one 'good' note to another 'good' note. I call them stepping stone notes. They come on unstressed parts of the bar. The stressed points usually being beats 1 and 3. Here the A is & of 1, Gb & of 3 and E & of 4, all weak points where almost any note will not sound too bad. Gb>F>E is a chromatic run, possibly ending on a chord tone on the important 1 in the next bar, Eb perhaps, part of Cm chord? All this presumes it's in key C, with the C key sig - no # or b.



          The 'Gm7' dictates nothing. Except that's the chord appropriate in that bar. There's no 'rules' (as we keep saying!); there's only 'theory'. Often in a bar of Gm7 there will be some chord tones - G, Bb, D, F, but that certainly does not preclude use of any of the remaining eight notes, whatever key the piece happens to be in. That concept you (and so many others) adhere to is wrong!






          share|improve this answer





















          • 2





            Good answer. There are many interpretations as to what chord symbols mean. In the foreword of Chick Corea's "Paint the World" sheet music book he says something like, he will not add a note in the chord symbol, if it's already stated in the melody. For example if the melody has a B note, a chord symbol "Am7" is enough, and he won't write "Am9" there. So it's up to the reader's subjective judgement to understand if a written melody note is an essential part of the song's harmony idea, or not :) Chord symbols are not a theory-hygienic harmony specification. They're more like accompaniment hints.

            – piiperi
            20 hours ago













          • @piiperi - Mark Levine's Jazz Theory book is full of the opposite!

            – Tim
            20 hours ago






          • 1





            Maybe the problem is that people don't read the forewords and assume that there's one universally "correct" interpretation for everything. And they don't know the culture around these written artifacts. :) I.e. what do people actually do with these things... Nowadays, when everything and everyone is becoming partly machine, music is assumed to be a coded list of mechanical "press these buttons at these instants" instructions. ;) Here's a cool thing that's written as just "E7" in the lead sheet youtube.com/watch?v=nO_xkm9s3rU&t=66s

            – piiperi
            19 hours ago











          • @piiperi - 'Laura' is similar to what Chick said. Some of the melody parts are m9, but the chords are simple m or m7. Although, put together, it makes m9...

            – Tim
            18 hours ago
















          10














          You could ask the same about the A note. All three are just passing notes, passing from one 'good' note to another 'good' note. I call them stepping stone notes. They come on unstressed parts of the bar. The stressed points usually being beats 1 and 3. Here the A is & of 1, Gb & of 3 and E & of 4, all weak points where almost any note will not sound too bad. Gb>F>E is a chromatic run, possibly ending on a chord tone on the important 1 in the next bar, Eb perhaps, part of Cm chord? All this presumes it's in key C, with the C key sig - no # or b.



          The 'Gm7' dictates nothing. Except that's the chord appropriate in that bar. There's no 'rules' (as we keep saying!); there's only 'theory'. Often in a bar of Gm7 there will be some chord tones - G, Bb, D, F, but that certainly does not preclude use of any of the remaining eight notes, whatever key the piece happens to be in. That concept you (and so many others) adhere to is wrong!






          share|improve this answer





















          • 2





            Good answer. There are many interpretations as to what chord symbols mean. In the foreword of Chick Corea's "Paint the World" sheet music book he says something like, he will not add a note in the chord symbol, if it's already stated in the melody. For example if the melody has a B note, a chord symbol "Am7" is enough, and he won't write "Am9" there. So it's up to the reader's subjective judgement to understand if a written melody note is an essential part of the song's harmony idea, or not :) Chord symbols are not a theory-hygienic harmony specification. They're more like accompaniment hints.

            – piiperi
            20 hours ago













          • @piiperi - Mark Levine's Jazz Theory book is full of the opposite!

            – Tim
            20 hours ago






          • 1





            Maybe the problem is that people don't read the forewords and assume that there's one universally "correct" interpretation for everything. And they don't know the culture around these written artifacts. :) I.e. what do people actually do with these things... Nowadays, when everything and everyone is becoming partly machine, music is assumed to be a coded list of mechanical "press these buttons at these instants" instructions. ;) Here's a cool thing that's written as just "E7" in the lead sheet youtube.com/watch?v=nO_xkm9s3rU&t=66s

            – piiperi
            19 hours ago











          • @piiperi - 'Laura' is similar to what Chick said. Some of the melody parts are m9, but the chords are simple m or m7. Although, put together, it makes m9...

            – Tim
            18 hours ago














          10












          10








          10







          You could ask the same about the A note. All three are just passing notes, passing from one 'good' note to another 'good' note. I call them stepping stone notes. They come on unstressed parts of the bar. The stressed points usually being beats 1 and 3. Here the A is & of 1, Gb & of 3 and E & of 4, all weak points where almost any note will not sound too bad. Gb>F>E is a chromatic run, possibly ending on a chord tone on the important 1 in the next bar, Eb perhaps, part of Cm chord? All this presumes it's in key C, with the C key sig - no # or b.



          The 'Gm7' dictates nothing. Except that's the chord appropriate in that bar. There's no 'rules' (as we keep saying!); there's only 'theory'. Often in a bar of Gm7 there will be some chord tones - G, Bb, D, F, but that certainly does not preclude use of any of the remaining eight notes, whatever key the piece happens to be in. That concept you (and so many others) adhere to is wrong!






          share|improve this answer















          You could ask the same about the A note. All three are just passing notes, passing from one 'good' note to another 'good' note. I call them stepping stone notes. They come on unstressed parts of the bar. The stressed points usually being beats 1 and 3. Here the A is & of 1, Gb & of 3 and E & of 4, all weak points where almost any note will not sound too bad. Gb>F>E is a chromatic run, possibly ending on a chord tone on the important 1 in the next bar, Eb perhaps, part of Cm chord? All this presumes it's in key C, with the C key sig - no # or b.



          The 'Gm7' dictates nothing. Except that's the chord appropriate in that bar. There's no 'rules' (as we keep saying!); there's only 'theory'. Often in a bar of Gm7 there will be some chord tones - G, Bb, D, F, but that certainly does not preclude use of any of the remaining eight notes, whatever key the piece happens to be in. That concept you (and so many others) adhere to is wrong!







          share|improve this answer














          share|improve this answer



          share|improve this answer








          edited 22 hours ago

























          answered 23 hours ago









          TimTim

          102k10104258




          102k10104258








          • 2





            Good answer. There are many interpretations as to what chord symbols mean. In the foreword of Chick Corea's "Paint the World" sheet music book he says something like, he will not add a note in the chord symbol, if it's already stated in the melody. For example if the melody has a B note, a chord symbol "Am7" is enough, and he won't write "Am9" there. So it's up to the reader's subjective judgement to understand if a written melody note is an essential part of the song's harmony idea, or not :) Chord symbols are not a theory-hygienic harmony specification. They're more like accompaniment hints.

            – piiperi
            20 hours ago













          • @piiperi - Mark Levine's Jazz Theory book is full of the opposite!

            – Tim
            20 hours ago






          • 1





            Maybe the problem is that people don't read the forewords and assume that there's one universally "correct" interpretation for everything. And they don't know the culture around these written artifacts. :) I.e. what do people actually do with these things... Nowadays, when everything and everyone is becoming partly machine, music is assumed to be a coded list of mechanical "press these buttons at these instants" instructions. ;) Here's a cool thing that's written as just "E7" in the lead sheet youtube.com/watch?v=nO_xkm9s3rU&t=66s

            – piiperi
            19 hours ago











          • @piiperi - 'Laura' is similar to what Chick said. Some of the melody parts are m9, but the chords are simple m or m7. Although, put together, it makes m9...

            – Tim
            18 hours ago














          • 2





            Good answer. There are many interpretations as to what chord symbols mean. In the foreword of Chick Corea's "Paint the World" sheet music book he says something like, he will not add a note in the chord symbol, if it's already stated in the melody. For example if the melody has a B note, a chord symbol "Am7" is enough, and he won't write "Am9" there. So it's up to the reader's subjective judgement to understand if a written melody note is an essential part of the song's harmony idea, or not :) Chord symbols are not a theory-hygienic harmony specification. They're more like accompaniment hints.

            – piiperi
            20 hours ago













          • @piiperi - Mark Levine's Jazz Theory book is full of the opposite!

            – Tim
            20 hours ago






          • 1





            Maybe the problem is that people don't read the forewords and assume that there's one universally "correct" interpretation for everything. And they don't know the culture around these written artifacts. :) I.e. what do people actually do with these things... Nowadays, when everything and everyone is becoming partly machine, music is assumed to be a coded list of mechanical "press these buttons at these instants" instructions. ;) Here's a cool thing that's written as just "E7" in the lead sheet youtube.com/watch?v=nO_xkm9s3rU&t=66s

            – piiperi
            19 hours ago











          • @piiperi - 'Laura' is similar to what Chick said. Some of the melody parts are m9, but the chords are simple m or m7. Although, put together, it makes m9...

            – Tim
            18 hours ago








          2




          2





          Good answer. There are many interpretations as to what chord symbols mean. In the foreword of Chick Corea's "Paint the World" sheet music book he says something like, he will not add a note in the chord symbol, if it's already stated in the melody. For example if the melody has a B note, a chord symbol "Am7" is enough, and he won't write "Am9" there. So it's up to the reader's subjective judgement to understand if a written melody note is an essential part of the song's harmony idea, or not :) Chord symbols are not a theory-hygienic harmony specification. They're more like accompaniment hints.

          – piiperi
          20 hours ago







          Good answer. There are many interpretations as to what chord symbols mean. In the foreword of Chick Corea's "Paint the World" sheet music book he says something like, he will not add a note in the chord symbol, if it's already stated in the melody. For example if the melody has a B note, a chord symbol "Am7" is enough, and he won't write "Am9" there. So it's up to the reader's subjective judgement to understand if a written melody note is an essential part of the song's harmony idea, or not :) Chord symbols are not a theory-hygienic harmony specification. They're more like accompaniment hints.

          – piiperi
          20 hours ago















          @piiperi - Mark Levine's Jazz Theory book is full of the opposite!

          – Tim
          20 hours ago





          @piiperi - Mark Levine's Jazz Theory book is full of the opposite!

          – Tim
          20 hours ago




          1




          1





          Maybe the problem is that people don't read the forewords and assume that there's one universally "correct" interpretation for everything. And they don't know the culture around these written artifacts. :) I.e. what do people actually do with these things... Nowadays, when everything and everyone is becoming partly machine, music is assumed to be a coded list of mechanical "press these buttons at these instants" instructions. ;) Here's a cool thing that's written as just "E7" in the lead sheet youtube.com/watch?v=nO_xkm9s3rU&t=66s

          – piiperi
          19 hours ago





          Maybe the problem is that people don't read the forewords and assume that there's one universally "correct" interpretation for everything. And they don't know the culture around these written artifacts. :) I.e. what do people actually do with these things... Nowadays, when everything and everyone is becoming partly machine, music is assumed to be a coded list of mechanical "press these buttons at these instants" instructions. ;) Here's a cool thing that's written as just "E7" in the lead sheet youtube.com/watch?v=nO_xkm9s3rU&t=66s

          – piiperi
          19 hours ago













          @piiperi - 'Laura' is similar to what Chick said. Some of the melody parts are m9, but the chords are simple m or m7. Although, put together, it makes m9...

          – Tim
          18 hours ago





          @piiperi - 'Laura' is similar to what Chick said. Some of the melody parts are m9, but the chords are simple m or m7. Although, put together, it makes m9...

          – Tim
          18 hours ago











          7














          In general, not every note needs to be considered part of the harmony. You can have notes outside of a chord or key be utilized. Both of these notes are examples of non harmonic tones.



          The G♭ is a chromatic passing tone. It is sandwiched between the G and F which are both chord tones. The E is also most likely another non harmonic tone, what it is exactly depends on what comes next. It could be another chromatic passing tone if the next note is an E♭, it could just as easily be an anticipation of what is next especially if you are in the key of A minor or C major which the lack of accidentals in the key signature.






          share|improve this answer




























            7














            In general, not every note needs to be considered part of the harmony. You can have notes outside of a chord or key be utilized. Both of these notes are examples of non harmonic tones.



            The G♭ is a chromatic passing tone. It is sandwiched between the G and F which are both chord tones. The E is also most likely another non harmonic tone, what it is exactly depends on what comes next. It could be another chromatic passing tone if the next note is an E♭, it could just as easily be an anticipation of what is next especially if you are in the key of A minor or C major which the lack of accidentals in the key signature.






            share|improve this answer


























              7












              7








              7







              In general, not every note needs to be considered part of the harmony. You can have notes outside of a chord or key be utilized. Both of these notes are examples of non harmonic tones.



              The G♭ is a chromatic passing tone. It is sandwiched between the G and F which are both chord tones. The E is also most likely another non harmonic tone, what it is exactly depends on what comes next. It could be another chromatic passing tone if the next note is an E♭, it could just as easily be an anticipation of what is next especially if you are in the key of A minor or C major which the lack of accidentals in the key signature.






              share|improve this answer













              In general, not every note needs to be considered part of the harmony. You can have notes outside of a chord or key be utilized. Both of these notes are examples of non harmonic tones.



              The G♭ is a chromatic passing tone. It is sandwiched between the G and F which are both chord tones. The E is also most likely another non harmonic tone, what it is exactly depends on what comes next. It could be another chromatic passing tone if the next note is an E♭, it could just as easily be an anticipation of what is next especially if you are in the key of A minor or C major which the lack of accidentals in the key signature.







              share|improve this answer












              share|improve this answer



              share|improve this answer










              answered yesterday









              DomDom

              36.4k19105223




              36.4k19105223























                  4














                  Although for this particular phrase the easiest explanation is "they're simply passing notes" it's worth noting these particular passing notes are a bit like a magic ingredient in the sound of jazz as they are part of jazz minor scale, almost a classic sound in jazz.



                  So if you start digging more and analyzing jazz recordings you will come across phrases where the sixth and major seventh over minor chords function as a static tension or a harmonic "color" that doesn't really get resolved.






                  share|improve this answer






























                    4














                    Although for this particular phrase the easiest explanation is "they're simply passing notes" it's worth noting these particular passing notes are a bit like a magic ingredient in the sound of jazz as they are part of jazz minor scale, almost a classic sound in jazz.



                    So if you start digging more and analyzing jazz recordings you will come across phrases where the sixth and major seventh over minor chords function as a static tension or a harmonic "color" that doesn't really get resolved.






                    share|improve this answer




























                      4












                      4








                      4







                      Although for this particular phrase the easiest explanation is "they're simply passing notes" it's worth noting these particular passing notes are a bit like a magic ingredient in the sound of jazz as they are part of jazz minor scale, almost a classic sound in jazz.



                      So if you start digging more and analyzing jazz recordings you will come across phrases where the sixth and major seventh over minor chords function as a static tension or a harmonic "color" that doesn't really get resolved.






                      share|improve this answer















                      Although for this particular phrase the easiest explanation is "they're simply passing notes" it's worth noting these particular passing notes are a bit like a magic ingredient in the sound of jazz as they are part of jazz minor scale, almost a classic sound in jazz.



                      So if you start digging more and analyzing jazz recordings you will come across phrases where the sixth and major seventh over minor chords function as a static tension or a harmonic "color" that doesn't really get resolved.







                      share|improve this answer














                      share|improve this answer



                      share|improve this answer








                      edited 18 hours ago

























                      answered 20 hours ago









                      Jarek.DJarek.D

                      5546




                      5546























                          2














                          Context is important when trying to understand what the chords are doing, but the Gm7 could be a ii chord, perhaps part of a ii-V7-I progression. The Dorian scale is often used to create phrases over ii chords, and G Dorian includes an E, not an Eb. In fact, the natural sixth degree (the E) is the note that gives Dorian its character.



                          In this interpretation, the only other note that needs explaining is the Gb. It is, of course, just a chromatic passing note. But more can be said. Bebop players used to add certain chromatic passing notes to smooth out their phrases; this phrase can be seen as constructed from the G Bebop Dorian scale, with a Gb written in place of F#.



                          In other words, this phrase is typical of what might be played over a ii chord in the Bebop idiom.






                          share|improve this answer




























                            2














                            Context is important when trying to understand what the chords are doing, but the Gm7 could be a ii chord, perhaps part of a ii-V7-I progression. The Dorian scale is often used to create phrases over ii chords, and G Dorian includes an E, not an Eb. In fact, the natural sixth degree (the E) is the note that gives Dorian its character.



                            In this interpretation, the only other note that needs explaining is the Gb. It is, of course, just a chromatic passing note. But more can be said. Bebop players used to add certain chromatic passing notes to smooth out their phrases; this phrase can be seen as constructed from the G Bebop Dorian scale, with a Gb written in place of F#.



                            In other words, this phrase is typical of what might be played over a ii chord in the Bebop idiom.






                            share|improve this answer


























                              2












                              2








                              2







                              Context is important when trying to understand what the chords are doing, but the Gm7 could be a ii chord, perhaps part of a ii-V7-I progression. The Dorian scale is often used to create phrases over ii chords, and G Dorian includes an E, not an Eb. In fact, the natural sixth degree (the E) is the note that gives Dorian its character.



                              In this interpretation, the only other note that needs explaining is the Gb. It is, of course, just a chromatic passing note. But more can be said. Bebop players used to add certain chromatic passing notes to smooth out their phrases; this phrase can be seen as constructed from the G Bebop Dorian scale, with a Gb written in place of F#.



                              In other words, this phrase is typical of what might be played over a ii chord in the Bebop idiom.






                              share|improve this answer













                              Context is important when trying to understand what the chords are doing, but the Gm7 could be a ii chord, perhaps part of a ii-V7-I progression. The Dorian scale is often used to create phrases over ii chords, and G Dorian includes an E, not an Eb. In fact, the natural sixth degree (the E) is the note that gives Dorian its character.



                              In this interpretation, the only other note that needs explaining is the Gb. It is, of course, just a chromatic passing note. But more can be said. Bebop players used to add certain chromatic passing notes to smooth out their phrases; this phrase can be seen as constructed from the G Bebop Dorian scale, with a Gb written in place of F#.



                              In other words, this phrase is typical of what might be played over a ii chord in the Bebop idiom.







                              share|improve this answer












                              share|improve this answer



                              share|improve this answer










                              answered 18 hours ago









                              David BowlingDavid Bowling

                              4,59421336




                              4,59421336























                                  2














                                  The technical term is non-chord tones.



                                  The other answers already explain these particular NCT's are unaccented passing tones, but there is a complete nomenclature of NCT from classical music that you should review to see the wide range of possibilities. In homophonic (chord based) music a huge amount of melody can be explain as the interplay of chord tones following the harmony and non-chord tones.




                                  • https://en.wikipedia.org/wiki/Nonchord_tone


                                  In jazz there is a special type of NCT called an enclosure which you should also review.



                                  enter image description here




                                  • https://www.jazzadvice.com/how-to-effectively-use-enclosure/


                                  The chord/scale system in jazz is an alternate approach from the classical non-chord tones theory. But some other questions/answers here at StackExchange explain that historically - prior to the chord/scale system - jazz improv was largely arpeggiated chords embellished with non-chord tones. The two systems shouldn't be considered mutually exclusive.



                                  You might want to expand this single question to a general review of the whole topic of non-chord tones. It will deepen your understanding of melody.






                                  share|improve this answer




























                                    2














                                    The technical term is non-chord tones.



                                    The other answers already explain these particular NCT's are unaccented passing tones, but there is a complete nomenclature of NCT from classical music that you should review to see the wide range of possibilities. In homophonic (chord based) music a huge amount of melody can be explain as the interplay of chord tones following the harmony and non-chord tones.




                                    • https://en.wikipedia.org/wiki/Nonchord_tone


                                    In jazz there is a special type of NCT called an enclosure which you should also review.



                                    enter image description here




                                    • https://www.jazzadvice.com/how-to-effectively-use-enclosure/


                                    The chord/scale system in jazz is an alternate approach from the classical non-chord tones theory. But some other questions/answers here at StackExchange explain that historically - prior to the chord/scale system - jazz improv was largely arpeggiated chords embellished with non-chord tones. The two systems shouldn't be considered mutually exclusive.



                                    You might want to expand this single question to a general review of the whole topic of non-chord tones. It will deepen your understanding of melody.






                                    share|improve this answer


























                                      2












                                      2








                                      2







                                      The technical term is non-chord tones.



                                      The other answers already explain these particular NCT's are unaccented passing tones, but there is a complete nomenclature of NCT from classical music that you should review to see the wide range of possibilities. In homophonic (chord based) music a huge amount of melody can be explain as the interplay of chord tones following the harmony and non-chord tones.




                                      • https://en.wikipedia.org/wiki/Nonchord_tone


                                      In jazz there is a special type of NCT called an enclosure which you should also review.



                                      enter image description here




                                      • https://www.jazzadvice.com/how-to-effectively-use-enclosure/


                                      The chord/scale system in jazz is an alternate approach from the classical non-chord tones theory. But some other questions/answers here at StackExchange explain that historically - prior to the chord/scale system - jazz improv was largely arpeggiated chords embellished with non-chord tones. The two systems shouldn't be considered mutually exclusive.



                                      You might want to expand this single question to a general review of the whole topic of non-chord tones. It will deepen your understanding of melody.






                                      share|improve this answer













                                      The technical term is non-chord tones.



                                      The other answers already explain these particular NCT's are unaccented passing tones, but there is a complete nomenclature of NCT from classical music that you should review to see the wide range of possibilities. In homophonic (chord based) music a huge amount of melody can be explain as the interplay of chord tones following the harmony and non-chord tones.




                                      • https://en.wikipedia.org/wiki/Nonchord_tone


                                      In jazz there is a special type of NCT called an enclosure which you should also review.



                                      enter image description here




                                      • https://www.jazzadvice.com/how-to-effectively-use-enclosure/


                                      The chord/scale system in jazz is an alternate approach from the classical non-chord tones theory. But some other questions/answers here at StackExchange explain that historically - prior to the chord/scale system - jazz improv was largely arpeggiated chords embellished with non-chord tones. The two systems shouldn't be considered mutually exclusive.



                                      You might want to expand this single question to a general review of the whole topic of non-chord tones. It will deepen your understanding of melody.







                                      share|improve this answer












                                      share|improve this answer



                                      share|improve this answer










                                      answered 15 hours ago









                                      Michael CurtisMichael Curtis

                                      8,760533




                                      8,760533






























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