You hear a note that clashes with the current chord, occurring precisely on the downbeat as a new chord begins. It holds briefly, then resolves down by step. What is it most likely?
AA passing tone filling in a gap between two chord tones
BA neighbor tone decorating the chord tone above it
CA suspension — an accented non-harmonic tone that resolves by step
DA chromatic passing tone outside the diatonic scale
The diagnostic features all point to a suspension: the dissonance occurs on the beat (accented), coincides with a chord change, and resolves by step. Passing tones, by contrast, are unaccented — they appear between beats, not on them. Rhythmic position is the critical distinguishing feature. A suspension commands attention by clashing on a strong beat; a passing tone quietly fills space between beats. If dissonance lands on a strong beat, think suspension; if between beats, think passing tone.
Question 2 Multiple Choice
A melody moves C–D–E over a C major chord. The D appears between two beats, lasts briefly, and is not part of the C major chord (C-E-G). What is the D?
AA chord tone, since D is in the key of C major
BA suspension, since D clashes with the C major harmony
CA passing tone connecting the chord tones C and E
DA neighbor tone decorating the C below it
The D satisfies all three criteria for a passing tone: (1) it is non-harmonic — not part of chord C-E-G, (2) it appears between beats (unaccented), and (3) it moves stepwise between two harmonic tones a third apart (C and E). The word 'passing' is apt — the D passes through on its way from C up to E, filling the melodic gap smoothly. A suspension would require D to appear on the beat and hold against the chord before resolving. Being diatonic (in the key of C) doesn't make D a chord tone; chord tones are determined by the chord, not the key.
Question 3 True / False
A passing tone can occur on a strong beat if it moves quickly enough between two chord tones.
TTrue
FFalse
Answer: False
Being unaccented is a defining characteristic of the passing tone, not an optional feature. A non-harmonic tone that appears on a strong beat coinciding with a chord change is a suspension, not a passing tone, regardless of how quickly it moves. The rhythmic position determines the classification. Passing tones by definition 'pass through' between beats, which is why they create only mild, fleeting dissonance — they are too brief and rhythmically weak to create the structural tension of a suspension.
Question 4 True / False
The key diagnostic feature that distinguishes a passing tone from a suspension is its rhythmic position in relation to the beat.
TTrue
FFalse
Answer: True
Rhythmic position is the primary diagnostic: passing tones are unaccented (between beats), while suspensions are accented (on strong beats, often coinciding with chord changes). Both involve non-harmonic tones that resolve by step, and both can produce dissonance against the current chord. The rhythmic weight changes everything: a suspension commands attention by clashing on the beat and holding; a passing tone quietly fills space between beats and moves on. When identifying non-harmonic tones by ear, ask first: does the dissonance land on or off the beat?
Question 5 Short Answer
What two streams of information must you track simultaneously to identify passing tones by ear, and why is listening to just one stream insufficient?
Think about your answer, then reveal below.
Model answer: You must track the harmonic stream (what chord is sounding — which pitches belong to the chord) and the melodic stream (what the melody is doing — which notes appear and when). The harmonic stream alone doesn't identify passing tones; you need to know which notes are non-harmonic. The melodic stream alone doesn't identify them either; you need to know whether the non-harmonic note is between beats and stepwise between two chord tones. Only by listening to both simultaneously can you recognize the signature: 'not in the chord, between beats, connecting two chord tones by step.'
This two-level listening skill — harmonic skeleton plus melodic surface — is the core of advanced ear training. The chord provides the grid of structural pitches; anything outside the grid is potentially an ornament. But you still need the melodic stream to determine what kind: is it between beats and moving through (passing tone) or on the beat and holding (suspension)? Is it stepping between two chord tones in one direction (passing) or circling back to the same note (neighbor)? Neither stream gives you this alone.