Definition
The suspension is a note of the preceding chord that is held while the harmony changes, becomes dissonant against the new chord, and then falls by step to the note it belongs on. It is the most expressive and most regulated dissonance in tonal music: it creates a moment of tension precisely when the new chord arrives.
The three phases
- Preparation: the note is consonant in the preceding chord, on a weak beat (or in any case not stronger than the dissonance).
- Suspension: the note is held (tied) or repeated on the strong beat, where it becomes dissonant.
- Resolution: it falls by step on a weak beat, onto a note of the chord.
The main types (figured relative to the bass)
| Suspension | Example in C | Typical context |
|---|---|---|
| 4-3 | over G: C → B | cadences (V with the fourth falling to the third) |
| 7-6 | over E: D → C | chains over a stepwise descending bass, six chords |
| 9-8 | over C: D → C | tonic or other root-position chords |
| 2-3 (suspension in the bass) | upper voice E; the bass holds D (second) and then falls to C (third) | the suspension is in the bass, which resolves by falling; frequent in chains with a descending upper voice |
There is also the ascending suspension (7-8, the leading tone held and rising to the tonic), rarer and of a particular character.
Practical rules
- The resolution note must not sound simultaneously in another voice during the suspension (exception: the 9-8, where the resolution is in the bass at the distance of a ninth).
- The suspension must fall on a stronger beat than the preparation and the resolution.
- The preparation must be at least as long as the suspension (a rule of the strict style, more flexible in tonal music).
- The bass may move at the moment of resolution (resolution with change of bass): the suspension resolves over a different chord, provided the arrival note is consonant.
- Suspensions do not fix parallels: if removing the suspension leaves parallel fifths or octaves, the error remains.
Ornamented suspensions
Between the suspension and the resolution, ornamental notes can be inserted:
- an anticipation of the resolution note (C – B – B);
- a lower neighbor tone or a leap to a chord note before resolving (C – A – B over G);
- a small melodic figure: the resolution arrives anyway in its rhythmic place.
Chains of suspensions
- Chain of 7-6 over a stepwise descending bass: each resolution becomes the preparation of the next suspension. It is one of the most common formulas of the Baroque.
- Chain of 2-3 with the bass shifting late relative to the upper voice.
- Chain of 4-3 over progressions by fifths.
Common mistakes
- Resolving the suspension by leap or upward (except in expressly ascending cases).
- Doubling the resolution note in another voice.
- Putting the suspension on the weak beat: it becomes a misplaced appoggiatura or a passing note.
Examples
- Bach chorales: the 4-3 on the V of the final cadence is almost a constant.
- Corelli, Trio Sonatas: chains of 7-6 and 2-3 between the two violins over the basso continuo.
- Pergolesi, Stabat Mater, first number: the two high voices intertwine in chains of suspensions and dissonant seconds, creating an effect of heart-rending sorrow.
- Pop and rock: the sus4 chord resolving to the major third (Dsus4 → D) is a 4-3 in modern form; many guitar intros alternate sus4 and major chord.
How to use it in composition
- To increase the expressiveness of a cadence, insert a 4-3 on the V.
- In pads and strings, holding a note while the chord changes (and then letting it fall) makes the progression more “connected” and emotional.
- In a choral arrangement, a chain of 7-6 between soprano and alto gives an immediate Baroque character.
Exercise
- Write the cadence ii6 – V – I in F major with a 4-3 suspension on the V.
- Write a chain of four 7-6 suspensions over the bass D–C–B–A–G.
- In the DAW, over a pad progression, hold the top note of each chord for half a beat into the next and let it fall: listen to the effect.
Connections
Fourth-species counterpoint (syncopation and suspensions); Non-chord tones; Sus, add, slash, and hybrid chords; Harmonic sequences; The Bach chorale; Secondary sevenths.