Questions: Chromatic Voice-Leading Through Approach and Passing Tones

Question 1

A composer writes a chromatic approach note on the first beat of a measure (a strong beat), immediately before a chord tone. What is the likely effect?

• A. The chromatic tone creates smooth, inevitable voice leading into the chord tone
• B. The chromatic tone sounds like a dissonance — an appoggiatura or suspension — rather than a smooth approach
• C. The strong beat placement makes the approach more noticeable and therefore more effective
• D. Nothing changes; metric placement does not affect the function of chromatic approach tones

Answer: (B)

The critical rule in chromatic voice leading is that approach tones must appear on weak metric positions. On a strong beat, the chromatic tone arrives on an accented position before resolving to the chord tone — this is the definition of an appoggiatura or suspension, which creates a dissonance demanding resolution rather than smooth passing motion. The chromatic tone has not changed, but its metric context has transformed its function entirely. Smooth chromatic voice leading requires weak-beat placement.

Question 2

An inner voice moves from C to D (a whole step). A chromatic passing tone is added. Which pitch fills this role, and where in the measure should it appear?

• A. Db on a strong beat, to create a half-step approach to D
• B. C# on a weak beat, splitting the whole step into two semitones
• C. B on a weak beat, approaching C from below before moving to D
• D. C# on a strong beat, because the chromatic pitch needs emphasis

Answer: (B)

A chromatic passing tone fills the gap between two chord tones a whole step apart by splitting that whole step into two semitones. Between C and D, the chromatic pitch is C# (or enharmonically Db). Crucially, it must appear on a weak beat — passing through on a metrically unaccented position — so that it creates smooth linear motion without functioning as a dissonance. Strong beat placement (option D) would make it an appoggiatura. Option C describes a neighbor tone approaching from below C, which is a different device.

Question 3

A chromatic approach note placed on a weak beat that resolves by step to the following chord tone is functioning correctly as a smooth chromatic voice-leading device.

• T. True
• F. False

Answer: True

Both conditions for proper chromatic voice leading are satisfied: (1) weak beat placement, ensuring the chromatic tone passes without functioning as an accented dissonance, and (2) stepwise resolution to the chord tone it is approaching. These two conditions together produce the smooth, inevitable quality that chromatic voice leading is designed to achieve — each voice appears to slide into place rather than jump. Violating either condition produces harshness rather than smoothness.

Question 4

Chromatic voice leading produces its characteristic smooth effect by creating dissonance and tension that enriches the harmonic progression.

• T. True
• F. False

Answer: False

This reverses the actual effect. Properly executed chromatic voice leading creates smoothness and inevitability — each voice slides into its destination rather than leaping. The chromatic tones are metrically placed to avoid functioning as dissonances. When they are placed on weak beats and resolve by step, they pass without disturbing the harmonic logic. Dissonance and tension are what result when chromatic voice leading is done incorrectly (strong beat placement, failure to resolve). The goal is fluency, not tension.

Question 5

What two conditions must a chromatic tone satisfy to function as a smooth chromatic passing tone or approach note rather than a dissonance?

Model answer: First, it must appear on a weak metric position (not on a strong beat). Second, it must resolve by step — moving by semitone to the chord tone it was approaching or passing through. If it appears on a strong beat, it becomes an accented dissonance (appoggiatura or suspension) demanding resolution. If it does not resolve by step — for example, if it leaps away — it sounds harsh and abrupt rather than smooth.

The two conditions are metric placement and stepwise resolution. Together they define what makes a chromatic tone pass smoothly rather than clash. The semitone is the smallest available interval and creates the strongest pull from one pitch to the next — chromatic approach tones exploit this pull deliberately. But that same pull becomes a dissonance when the chromatic tone is given metric emphasis (strong beat) or fails to resolve (leap away). Bach chorales and jazz improvisation both rely on both conditions being met simultaneously.