29 Chapter 4: Suspension; consonant syncopation ‘Along with neighbor tones and passing tones there is a third way that dissonance may be used without damaging clear harmonic implication. This is the suspension. A suspension is an accented dissonance prepared by a tied or repeated note, and resolved down by step. As with neighbor tones and passing tones, the dissonant note in the suspension will not be approached or followed by leap. Study the fol- lowing example. Ex 4a Ww s WwW preparation suspension resolution ie % # — | © Hf 8 {-———F 3 = cons, cons. Qi Vv + The overall effect involves three rhythmic points: a weak beat, a strong beat, and another weak beat. + The first weak beat must be consonant. This is the preparation. + The preparation note is tied to the next strong beat. As the cantus firmus moves this note becomes dissonant. This is the suspension, + In order to restore the harmony the suspension note moves down by step to become consonant. This is the resolution. The rhythmic effect created by tying the counterpoint note across the bar line is called syncopation. Most suspensions involve syncopation, however, the rhythmic emphasis placed on the dissonant suspension may be increased by climinating the tie, thereby turning the suspension into a repeated note, This effect should be used sparingly and with taste. When the counterpoint is in the treble the interval of resolution is always one smaller than the suspension. Thus, 4 resolves to 3, 7 to 6, and 9 to 8.30 Ex 4b Notice that the preparation is consonant, Do not tie from or repeat a note that is dissonant. When the counterpoint is in the bass the interval of resolution is one larger than the suspension, In this situation the 2~3 (or 9-10) is the only satisfactory suspension. The 7-8 and the 4-5 produce a weak effect, and should not be used. The 5-6 is a useful syncopation, but, since both intervals are consonant, strictly speaking, it is not a suspension. Ex de suspension consonant in bass syncopation weak weak Since the preparation and the resolution are both consonant intervals on weak beats, suspensions may be linked in a series called suspension chains. If the cantus firmus descends by step the suspension type repeats itself.Ex 4d This effect becomes overly predictable after three or, at the most, four repetitions. 9-8 suspensions and 5-6 syncopations should not be linked in this fashion because of the consecutive perfect intervals that are produced Ornamented suspensions ‘The resolution of a suspension may be preceded by an ornament. The ornamental note or notes replace the second half of the suspension note. If an ornament is preceded or followed by step, it need not be a chord tone and may form a dissonance with the cantus firmus. Example 4f, which is based on example 4e, illustrates the various types of ornaments available. Notice that the third and fourth types are derived from the first and second types, respectively, with the leap of a third filled by a PT. If the ornament is preceded and followed by leap (measure 6 below), it must form a consonance with the cantus firmus. Ex 4e 4543 17 656 |7 36 Ornaments that form obvious consecutive octaves or fifths should be avoided.