Nonharmonic Tones and Suspensions

Nonharmonic Tones The following are the different types of nonharmonic tones that are
often used in Western classical music. Today, we will focus on
suspensions and how they are used to enhance the expressivity of
the music.

Accented Suspension (SUS)

Nonharmonic Tones
The suspension occurs only as an accented nonharmonic tone. The
melodic pattern of the suspension figure is always as follows: the
preparation, the suspension, and the resolution.

In this example, the suspension occurs in the top

voice. In the preparation stage, the top note
belongs to the harmony on that beat. In the
suspension stage, the harmony changes, but the
top note is still held or suspended. In the resolution
stage, the suspended note finally resolves down a
step.

The suspended tone (in the middle) is always dissonant. The

suspension is labeled in terms of the intervals formed between the
suspended tone and the bass, and the resolution tone and the bass.

The most common ones are 7-6, 4-3, and 9-8 suspensions.
 In this example, we have
standard chord
progressions. Notice the
soprano voice that falls
down a step.

This example is like above

but with suspensions
added. Notice the
suspension occurs on the
strong beat and the
resolution is on the
following beat.

Another common suspension is the 2-3 suspension shown below.

Even though most suspensions involve a suspended note in the upper

voices, in the 2-3 suspension, the suspended tone is in the lowest
voice (or bass).

Suspensions occur only between two voices. You may ignore the
other voices when considering the preparation, suspension, and
resolution. The following are suspensions found in a four-voice setting.
Writing Three-Part Harmony

Doubling Doubling in a three-part harmony is considerably different from that in

a four-part harmony. There is usually more flexibility. Always aim for
smooth voice leading instead of complete chords.

Root Position In root position chords:

1. The 5th is often omitted. The final I chord may consist only of a
tripled root.
2. An incomplete triad will usually have the root doubled. The
leading tone is almost never doubled.

First Inversion In first inversion chords:

1. Triads are usually complete.

2. If a member of the triad is omitted, it will almost always be the 5th.

Second Inversion In second inversion chords:

1. Triads are usually complete.

2. An incomplete triad will usually have the 5th doubled.
Seventh Chords In seventh chords:

1. In three-part texture, one of the chord tones must be omitted. The 5th is
more commonly omitted.
2. The 3rd can also be omitted, though more seldomly.
Sequence and Imitation

Sequence Sequence is a pattern that is repeated immediately in the same

voice but that begins on a different pitch.

Imitation Imitation is the same as a sequence but occurs between two or

more voices.
Augmented Sixth Chords

Augmented Sixth The augmented sixth chord is another of those chord forms that are
Chords preparations of the V (dominant) chord. The evolution of the
augmented sixth chord is interesting.

The interval of A6 is the defining factor that distinguishes the

augmented sixth chord from other chords.

In terms of four-part harmony, there are 3 types of augmented sixth

chords, and the first order of business is to understand that all 3 types
have 3 tones in common.

Three Tones in The three tones are what was produced in Example F above:
Common
1. The bass located M3 below the tonic.
2. The A6 above the bass note.
3. The tonic note.

The chord in Example F is called an Italian sixth chord.

The addition of a 4th tone to the harmony becomes the crucial factor in
defining which of the 3 types of augmented sixth chords is to be used
(Italian sixth chord, French sixth chord, or German sixth chord).
When an augmented sixth chord resolves to V, the A6 interval
expands outward to form an octave. If the resolution is to the V7
chord, the upper note of the A6 interval may move chromatically down.
Ninth and Thirteenth Chords

Ninth Chord If we add another 3rd to a seventh chord, we obtain a ninth chord. It is
a dissonant tone that resolves down by step, just as a seventh does.
The most common ninth chord is the V9 chord.

In four-part harmony, the 5th of the chord is omitted.

Thirteenth Chord The most common thirteenth chord is the V13 chord. In the following
example, the thirteenth does not resolve by step, but moves down to
the tonic note by the drop of a 3rd.

In writing a V13 chord, retain the root, third (LT), seventh, and
thirteenth.