What it is
In fourth species the counterpoint moves in syncopated half notes: every upbeat half note is tied to the half note on the next downbeat. The result is a voice that always seems to be late against the cantus. This is where the suspension is born, the most expressive dissonance in Western music.
The three phases
- Preparation (upbeat): the note enters as a consonance.
- Percussion (downbeat): the cantus changes note while the counterpoint stays still; the interval may become dissonant.
- Resolution (next upbeat): the dissonance descends by step to a consonance, usually an imperfect one.
If the interval at the percussion is consonant (consonant syncopation), the note may move freely, even by leap.
Good and bad suspensions
Counterpoint above the cantus:
- 7–6: the best, very frequent, also in chains.
- 4–3: excellent, typical of cadences.
- 9–8: admitted sparingly (resolution onto the octave is less rich).
- 2–1: to be avoided (resolves onto the unison).
Counterpoint below the cantus (the dissonance is in the lower voice):
- 2–3: the best, also in chains.
- 4–5: acceptable.
- 7–8 and 9–8 in the bass: to be avoided.
Other rules
- Begin with a half rest and a perfect consonance on the upbeat.
- The resolution goes always down; a rising suspension (ascending suspension) does not belong to the strict style.
- Fifths on consecutive upbeats are not saved by the syncopation: 5–6–5 with the fifths in the preparation should be avoided.
- If the chain of suspensions cannot be continued, the syncopation is broken (rottura): for a bar or two the counterpoint returns to two untied half notes.
- Cadence: counterpoint above 7–6 (D5 tied over E4 falling to C#5, then D5); counterpoint below 2–3 (D4 tied below E4 falling to C#4, then D4 at the unison).
Example in D Dorian, counterpoint above
Cantus: D4 F4 E4 D4 G4 F4 A4 G4 F4 E4 D4
Counterpoint: rest A4 ~ A4 D5 ~ D5 C5 ~ C5 B4 ~ B4 E5 ~ E5 D5 ~ D5 C5 ~ C5 B4 | A4 D5 ~ D5 C#5 | D5
| Bar | Cantus | Downbeat (percussion) | Upbeat |
|---|---|---|---|
| 1 | D4 | rest | A4 (5) preparation |
| 2 | F4 | A4 (3) consonant syncopation | D5 (6) |
| 3 | E4 | D5 (7) | C5 (6) resolution 7–6 |
| 4 | D4 | C5 (7) | B4 (6) 7–6 |
| 5 | G4 | B4 (3) consonant | E5 (6) free leap |
| 6 | F4 | E5 (7) | D5 (6) 7–6 |
| 7 | A4 | D5 (4) | C5 (3) 4–3 |
| 8 | G4 | C5 (4) | B4 (3) 4–3 |
| 9 | F4 | A4 (3) broken syncopation | D5 (6) |
| 10 | E4 | D5 (7) | C#5 (6) 7–6 cadential |
| 11 | D4 | D5 (8) |
Typical errors
- Unprepared dissonance: the tied note must be consonant when it enters.
- Resolution by leap or upward.
- Resolving onto a perfect consonance where an imperfect one could be used (continuous 9–8).
- Keeping the syncopation even when it produces 2–1 or fifths on the upbeats: better to break it.
Modern application
- Pop ballads and piano: the 7–6 chain over a descending bass (C B A G) is the basis of many piano intros and string arrangements.
- Soundtracks: 4–3 and 9–8 suspensions in the violins before a cadence are the most direct gesture for creating emotion; use them in long values.
- Choirs: the 4–3 at the end of a choral phrase (sus4 resolving to the third) is a gospel and pop classic; the rule of preparation keeps the suspended note from entering exposed.
- Synth pads: a sus4 chord followed by the major chord is a suspension; putting the suspended note in the top voice makes it more evident.
Related topics
Fourth-species counterpoint, suspension chains, syncopation and anticipation, cadences, suspended chords.