In part writing, a suspension is a non-chord tone that creates expressive tension by delaying the expected resolution of a chord tone. It is one of the most common and effective embellishments in tonal harmony, especially in four-part chorales. Mastering the suspension allows you to add richness and forward motion to your compositions while respecting the strict voice leading rules of traditional part writing.
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Part-Writing
What Is a Suspension in Music Theory?
A suspension occurs when a note from a previous chord is held over into the next chord, creating a temporary dissonance against the new harmony. The suspended note then resolves downward by step to a chord tone. This three-step process defines the suspension:
- Preparation: The suspended note must be a consonance (usually a chord tone) in the previous chord.
- Suspension: The note is tied or repeated into the next chord, forming a dissonance (typically a 4th, 7th, or 9th above the bass).
- Resolution: The suspended note moves down by step to a chord tone, usually a third or a sixth above the bass, resolving the dissonance.
For example, in a 4-3 suspension, the suspended note is a 4th above the bass in the new chord (dissonant) and resolves to a 3rd (consonant). This pattern is essential in counterpoint and part writing because it creates a smooth, controlled sense of tension and release.
Types of Suspensions in Part Writing
Suspensions are classified by the interval between the suspended note and the bass at the moment of suspension, and the interval of resolution. Common types include:
4-3 Suspension
- Most common. Preparation: note is part of previous chord. Suspension: 4th above bass. Resolution: 3rd above bass.
7-6 Suspension
- Preparation: note is a chord tone. Suspension: 7th above bass. Resolution: 6th above bass.
9-8 Suspension
- Preparation: note is part of chord. Suspension: 9th above bass. Resolution: octave (8th) above bass. This is less common in four-part writing because the resolution creates an octave with the bass, which can sound hollow.
2-3 Suspension
- Suspension: 2nd above bass. Resolution: 3rd above bass. Usually occurs in inner voices.
In part writing, the upper voices (soprano, alto, tenor) are the typical locations for suspensions. The bass rarely forms a suspension because it anchors the harmony.
Rules for Writing Suspensions in Four-Part Harmony
Writing a correct suspension requires careful attention to voice leading. The following rules are standard in music theory part writing:
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Preparation must be a consonant chord tone. The suspended note must be held over from a consonance in the previous chord. It cannot be approached by leap or as a dissonance.
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The suspension note is tied or repeated (not re-articulated). Do not re-attack the suspended note; it should sound smooth.
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Resolution must be downward by step. The dissonance always resolves to a consonant note a step below. Upward resolution is not a suspension (it would be a retardation).
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Avoid parallel perfect intervals. If the resolution creates a perfect fifth or octave with another voice moving in parallel, it may be prohibited. Check that no parallel fifths or octaves occur.
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Do not double the suspended note in another voice. The suspended note should be unique in the texture to preserve the dissonance.
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Resolution note may be doubled if it is a chord tone, but avoid doubling the leading tone.
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The bass should not contain the suspended note unless it is a non-harmonic tone. In practice, suspensions are almost always in the upper voices.
Common Mistakes to Avoid
- Unprepared suspension: Starting a suspension without a consonant preparation violates the core definition.
- Resolution not by step: If the suspended note moves up or leaps, it is no longer a suspension.
- Mixing suspension types incorrectly: e.g., writing a 7-6 suspension but resolving to a 5th instead of a 6th.
- Parallel fifths or octaves with the resolution: This is a frequent error; check the interval between the resolution note and the other voices.
- Suspension in all voices simultaneously: This creates a chain of parallel motion that usually breaks voice leading rules. Use one suspension at a time.
Worked Example: 4-3 Suspension in a Chorale
Consider a progression from C major (I) to G major (V). In the soprano, hold the note D (the fifth of the I chord) into the V chord. Over the bass note G, D becomes a 4th (dissonant). The D then resolves down to C (the third of V), forming a 4-3 suspension. In the alto, the note G moves to B, and tenor holds C to D. This produces a smooth, expressive line. The suspension adds a momentary dissonance that enriches the harmonic transition.
Practical Tips for Using Suspensions
- Use suspensions on strong beats (typically beat 2 or 4 in common time) to emphasize the dissonance.
- Place suspensions in the soprano for maximum audibility, or in the alto/tenor for subtler color.
- Combine suspensions with other non-chord tones (like passing tones) to create complex but controlled lines.
- In part writing, limit to one suspension at a time to maintain clarity.
- Practice writing suspensions in all four voices to internalize the voice leading constraints.
Suspension vs. Appoggiatura vs. Retardation
- Appoggiatura: a dissonance approached by leap and resolved by step. Unlike suspension, it is not prepared.
- Retardation: a suspension that resolves upward by step. It is less common and creates a different effect.
- Suspension: prepared dissonance resolving downward by step. It is the most controlled and traditional form.
Final Recommendation
Suspensions are a fundamental tool in music theory part writing. To use them effectively, memorize the three-step process (preparation, suspension, resolution) and the standard types (4-3, 7-6, 9-8). Apply the strict voice leading rules: prepare from a consonance, resolve downward by step, avoid parallels, and keep the bass free of suspensions. Start by adding a single 4-3 suspension in the soprano of a simple IāVāI progression, then expand to inner voices and other types. Consistent practice with chorale-style writing will solidify your ability to use suspensions musically and correctly. By mastering suspensions, you can create beautifully expressive harmonic progressions that follow the principles of traditional part writing.