Chapter 9: Nonharmonic Tones 161

Assignment 9.1
Approach Methods

Complete the approach exercises located on the next several pages. Use the
appropriate approach technique indicated for each exercise. Nonharmonic tones
are indicated with an “X” note head. Use SATB stem directions in four-way close
or drop-2 positions as suggested. Read the instructions carefully. Each exercise
is started for you.
 Diatonic Approach

Use four-way close throughout. Hint: there should be no accidentals in this solution until the B7(9).

Eb 6 E bÿ A bÿ A b 6 E bÿ E b6 F È B bï E b6
b 4 ˙
& b b 4 œœ œ¿ œ ¿ ˙ ˙ œ ¿ œ ¿ œ œ w
Chapter 9: Nonharmonic Tones

? b b 4 œœ œœ
b4
163
 Diminished Seventh Approach

In this exercise, which of the three diminished sevenths will you choose? Use the one that contains
the nonharmonic tone that you are voicing. Use four-way close for measures 1, 3, and 4, and drop-2
in measure 2.

D6 A7 EÈ F #7
##
& ¿ œ ¿ œ œ ¿ œ ¿ ˙ œ ¿ œ ¿ œ
¿
œœ w
Chapter 9: Nonharmonic Tones

? # # œœ
165
 Dominant Approach

The first two notes are given to illustrate that the A neighboring tone is harmonized with notes of a
C7 (the V of Fmi7). Take note of the 13 (the melodic tone A) and the 9 (the D). These are tones
that belong to the “key of the moment” which is F minor. Think about this as you complete the rest
of the exercise. Use four-way close throughout.

FÈ B b7 D bÈ
b b
& b œœ n ¿œ œ b¿ œ ¿ œ b¿ w
Chapter 9: Nonharmonic Tones

œ b œœ
? bb œ
b
167
 Chromatic Parallel Approach

Use four-way close and drop-2 at your discretion, but consider alternating voicing types as the melody
leaps. Hint: Voice the target note first, then move backwards and voice the approaching nonharmonic
tone.

D7 GÈ C7 Fÿ
j œ. j j œ œ j
& b œœ . # ¿ #¿ œ. ¿ ¿ n ¿ œ . # ¿j œ # ¿ ˙ .
. œ.
Chapter 9: Nonharmonic Tones

? b # œœ ..
169