Definition
A suspension chain is a succession of syncopations in which each resolution becomes the preparation of the next suspension. Born in fourth species, it is one of the most widely used formulas from the Renaissance to pop: it creates continuous tension and descending motion.
The 7–6 chain over a descending bass
Bass descending by step in C: C4 B3 A3 G3 F3 E3. Syncopated upper voice: preparation on the upbeat, dissonant seventh on the downbeat, resolution to the sixth.
| Downbeat | Bass | Upper voice | Interval |
|---|---|---|---|
| 1 | C4 | (prep.) A4 | 6 |
| 2 | B3 | A4 | 7 → G4 (6) |
| 3 | A3 | G4 | 7 → F4 (6) |
| 4 | G3 | F4 | 7 → E4 (6) |
| 5 | F3 | E4 | 7 → D4 (6) |
In three voices this formula becomes a succession of first-inversion chords (6/3) with suspensions: the middle voice proceeds in thirds beneath the upper voice.
The 2–3 chain in the bass
Here the dissonance is in the lower voice. The upper voice descends by step in long notes; the syncopated bass stays still while the upper voice arrives a step lower, forming a second (or ninth), then descends in turn, forming a third (or tenth).
| Downbeat | Upper voice | Tied bass | Interval |
|---|---|---|---|
| 1 | G4 | (prep.) E3 | 10 |
| 2 | F4 | E3 | 9 → D3 (10) |
| 3 | E4 | D3 | 9 → C3 (10) |
| 4 | D4 | C3 | 9 → B2 (10) |
| 5 | C4 | C3 (final) | 8 |
The last resolution B2 rises to C3 while the upper voice falls from D4 to C4: the cadence arrives on the octave by contrary motion.
The 4–3 chain
Shorter than the 7–6, because the resolution third cannot become a prepared fourth without a leap. It is used mainly in cadences: over G3, a tied C4 (4) falls to B3 (3); then the cadence on C.
Combinations
- 7–6 and 4–3 alternating over a bass that descends a fourth and rises a third: typical of Baroque sequences.
- 9–8 over a pedal: the upper voice forms a ninth over the pedal and falls to the octave; the chain is held up by the stationary bass.
- Double suspensions: two voices suspended together (9 and 7, or 4 and 6) that resolve simultaneously; they produce the dominant cadence with 6/4 or the 9–8 and 4–3 together.
How to build a chain without errors
- Choose the bass: descending by step for 7–6; descending fourths and ascending thirds to alternate 7–6 and 4–3.
- Write the resolutions (the imperfect consonances): they are the real skeleton, often thirds or sixths parallel to the bass.
- Shift the upper voice half a bar forward and tie: you get the suspensions.
- Check that the preparations are consonant and that no fifths arise on the upbeats.
Examples in the repertoire
- Corelli in the trio sonatas and Handel in the slow movements of the concerti grossi use 7–6 and 2–3 chains as the engine of the sequences.
- The piano introductions of many pop ballads descend by step in the bass (C, G/B, Am, C/G…) with the melody delaying above.
Typical errors
- Leaving the chain without an exit: after three or four suspensions you need a cadence or a break.
- Suspensions that resolve upward.
- Doubling the resolution note in another voice while the suspension is still hanging (e.g., B3 in the bass under a suspended C4 that must resolve to B4): the anticipated doubling is audible.
Modern application
- Film strings: a 7–6 chain in violins and violas over cellos descending by step is one of the most recognizable sounds in dramatic cinema.
- Pop: the progression with descending bass and inverted chords (C G/B Am Am/G F) becomes more expressive if the melody or a pad holds the note of the previous chord and resolves late.
- Choirs: 2–3 chains between alto and bass give momentum to a slow chorus; singers find them natural because every note is prepared.
Related topics
Modal fourth species, harmonic sequences, pedal point and ostinato, Pachelbel progression, galant schemata.