Understanding the Number and Parts of a Suspension in Music

A suspension is a fundamental non-chord tone in music theory that creates tension by holding a note from a previous chord into the next chord, then resolving stepwise down to a chord tone. Understanding the number and parts of a suspension is essential for analyzing harmony, composing expressive lines, and interpreting figured bass. This article breaks down the three structural parts of every suspension and explains how suspensions are labeled by number.

The Basic Structure of a Suspension

Every suspension consists of three distinct phases that occur over two chords: the preparation chord (where the suspended note is a chord tone), the suspension chord (where the note is held as a non-chord tone), and the resolution chord (where the note moves to a chord tone). These three parts are called the preparation, the suspension, and the resolution.

Preparation

The preparation is the note that will become the suspension. It must be a chord tone in the previous chord (called the preparation chord) and is usually tied or repeated into the next chord. Without proper preparation, the dissonance can sound harsh. For example, in a 4-3 suspension over a bass note G, the suspended note (C) is first heard as the root of a C major chord before the harmony changes.

Suspension

The suspension itself is the moment when the note is held over a new chord where it is not a chord tone, creating dissonance. The suspended note typically appears on a strong beat or accented part of the measure. It is the focal point of the suspension’s tension. The interval between the bass and the suspended note determines the suspension’s number.

Resolution

The resolution is the stepwise downward motion of the suspended note to a chord tone of the new chord. This release of tension is nearly always by a whole or half step down (never up, in traditional counterpoint). The resolution completes the suspension and re-establishes consonance.

Numbering Suspensions: The Figured Bass Approach

Suspensions are named by the interval between the bass note and the suspended note, followed by the interval after resolution. The most common numbers are 4-3, 7-6, and 9-8, but others exist in more advanced contexts.

Common Suspension Types

• 4-3 suspension: The suspended note forms a fourth above the bass, resolving to a third. This is the most common type. Example: In the key of C, over a bass note G, the suspension is C (fourth above G) resolving to B (third above G).

• 7-6 suspension: The suspended note is a seventh above the bass, resolving to a sixth. Often occurs over a dominant chord. Example: Over bass note G, the suspension is F (seventh above G) resolving to E (sixth above G).

• 9-8 suspension: The suspended note is a ninth above the bass, resolving to an octave. This typically appears over a tonic or stable bass. Example: Over bass note C, the suspension is D (ninth above C) resolving to C (octave).

Less common types include 2-3, 6-5, and multiple suspensions (chain suspensions). The number always refers to the interval above the bass, not the upper voice melody.

Voice Leading and Chord Context

Suspensions are most effective in four-part harmony. The suspension usually occurs in the soprano or alto voice, but any voice may hold the suspension. The voice that resolves must be the same voice that was suspended. The bass often moves in contrary motion to create smoother lines. Avoid parallel fifths or octaves when resolving. Common harmonic contexts: suspensions on the dominant chord (V) resolving to the tonic (I), or within a progression like I–IV–V–I.

Practical Tips for Using Suspensions in Composition

1. Use suspensions to delay cadences: A suspension on the dominant chord before a tonic resolution adds expressiveness.
2. Chain suspensions: Stagger multiple suspensions across voices for a rich, flowing texture (e.g., in Baroque music).
3. Avoid unprepared suspensions: In traditional counterpoint, the preparation is mandatory. In modern styles, unprepared suspensions are used for deliberate dissonance.
4. Write out the figured bass: When analyzing or composing, label the numbers (4-3, 7-6, etc.) to clarify voice leading.
5. Listen for the resolution: The downward step is key; if the note moves up, it is an appoggiatura, not a suspension.

Final Recommendation

To master suspensions, practice analyzing Bach chorales. Identify each suspension’s preparation, suspension, and resolution, and write down its number (e.g., 4-3). Then try composing a short four-part chorale using at least one suspension per phrase. This hands-on approach will solidify your understanding and make you a more expressive writer.