If the bass is held and considered the non-chord tone, I think the only traditional non-chord tone labels available are _suspension_ or _retardation_, but those technically require resolution which doesn't happen in the example.

You could flip your non-chord tone labeling and call the bass tone the consonant tone and the treble voices the non-chord tones.

Dropping some voices to simplify and shifting some metrical placement we can get the following which is a basic _escape tone_.

[![enter image description here][1]][1]

Shift those notes metrically to get back to your example...

[![enter image description here][2]][2]

...add the additional voices and you ***might*** consider this some kind of accented, triple escape tone group...

[![enter image description here][3]][3]

Personally, I think my explanation above is trying to shoe-horn the music into a traditional non-chord tone identity, but I thought it might be valuable to try identifying an appropriate non-chord tone. 

(One might grope further and find a combination _anticipation_ in the `G` and _passing tones_ in the `C E`.)

While an escape tone might - kinda, sorta - fit on paper, I don't think this provides a satisfactory explanation. 

Why isn't it satisfactory? Because we first need a notion of what is dissonant and that is a matter of _style_!

Slight digression: in basic blues we use primary triads `I, IV, V` but all harmonized as dominant-seventh chords where there is absolutely no need to resolve the sevenths. In other words you can say the sevenths in those chords are not considered dissonances. I think you can also say the tritone isn't dissonant in blues harmony, certainly not in the common-practice era sense.

Perhaps we can approach this music example in a similar way.

I think in some pop music styles there is a kind of _primary chord_ superimposed harmony where just about any pattern outlining the primary chords of a key can be combined with another such pattern _without the two patterns necessarily aligning vertically_. Any such combination is deemed consonant. It's sort of like _pandiatonicism_ except it focuses on the primary chords. I don't know any musical term to describe it.

In the example we clearly have `V IV I` in the treble part over dominant and tonic tones in the bass. Both patterns separately are simple, direct outlines of the primary harmonies of `G` major. The fact that the middle bar has a "mis-aligned" `C` chord over a `D` in the bass doesn't represent a dissonance. Any combination of the primary harmonies will be considered consonant. 

I suppose if we are trying to escape from using Roman numeral analysis or jazz symbols on this (and I think we should) instead of writing `V I` or `D C/D G` or something like that, it would just be `G major` and then the focus might shift to rhythm or changes to the overall tonal center. 

This isn't my own original idea. I first read it somewhere as an explanation of harmony in African Highlife music. It makes sense to me as a description of that musical style and I think it can also apply to rock and other pop music.






  [1]: https://i.sstatic.net/cLjul.png
  [2]: https://i.sstatic.net/v8M1p.png
  [3]: https://i.sstatic.net/J25BE.png