A Handbook for Composition and Analysis |
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A voice embellished by a suspension delays the new note until after the new time span has begun. A voice embellished by an anticipation reaches the new time span too early.
The pedal point overlays a succession of time spans with a single time span. There results a sustained bass note above which upper voices unfold a succession of harmonies.
Within a composition, each chord has a definite duration called its time span. The successive time spans of a progression together create that progression's harmonic rhythm.
Ex. 11-1 Time Span Examples
The chords of example 11-1a have time spans of the same duration. That is, the harmonic rhythm moves uniformly by quarter note. These regular time spans are characteristic of chorale style.
In free style, time spans are more varied. The harmony of example 11-1b, for instance, shows a variety of time spans. As a result, the harmonic rhythm of example 11-1b is complex. Although the bass moves uniformly in dotted eighth notes, the harmony does not. The first tonic triad lasts a total of two dotted quarters. The following dominant lasts for a dotted quarter plus a dotted eighth. The next two chords span single dotted eighths. The final tonic spans a duration of a dotted quarter plus a dotted eighth, and so on.
We say that a chord controls or governs its time span. Within the confines of its time span, a chord controls both consonance and dissonance. The same scale degrees may be consonant in one time span (example 11-2a) and dissonant in another (11-2b).
Ex. 11-2 Dissonance Related to Time Spans
Melodic figurations arise in relation to a particular time span. That is, a passing (or neighboring) note is consonant or dissonant or accented or unaccented only in relation to the time span in which it occurs. Another class of figuration arises when we overlap time spans. We call them rhythmic figurations, and distinguish among three basic types: the suspension, the anticipation, and the pedal point.
As a rule, the suspension begins with a voice that moves by step from a chord note in one time span to a chord note in another, as in the soprano of example 11-3a. If we delay this stepwise motion, notice what happens. We suspend the first note into the time span of the second (see example 11-3b), arriving late on the expected second note (11-3c). The delay creates a dissonance at the beginning of the second time span (11-3b) as well as a sense of expectation and, finally, dramatic resolution (11-3c).
Ex. 11-3 Origin of the Suspension
We create a suspension, then, by overlapping time spans. Notice that the suspension of example 11-3 does not arise from adding a note to the voice. It arises from suspending a note into the next time span. For a suspension to work clearly, then, its metrical position must be clear.
A suspension has three parts: the preparation, the suspension, and the resolution, each distinguished by its relative metrical position.
To suspend a note, we must first prepare it as a consonance. Thus the first (consonant) note of the suspension is called its preparation. Example 11-3a shows the basic, consonant, voice leading. The soprano C becomes the preparation for the subsequent suspension (11-3b) and resolution (11-3c).
We then tie the preparation into the new harmonic span, where it becomes the suspension proper. In example 11-3b, we have suspended the soprano C into the time span occupied by soprano B in example 11-3a, to create a suspension.
The suspended dissonance then resolves down by step to a consonance, called its resolution. The suspended C resolves to the consonant B at (c) in example 11-3.
As a rule, both the preparation and the suspension arise in metrically accented positions. That is, the preparation arises at the beginning of the first time span, and the suspension appears at the beginning of the second. In contrast, the resolution arises in a metrically weak position. Note that each of the resolutions (z) in example 11-4 arise in a weak metrical position relative to the suspensions (y) that precede them.
Ex. 11-4 Suspensions
Since the suspension delays the note of resolution, we do best not to double the note of resolution in another voice. If we double the note of resolution, we anticipate the note of resolution, thereby weakening its dramatic effect. Notice that, in each suspension of example 11-4, Bach avoids doubling the note of resolution.
Dissonant suspensions can break up parallel fifths in basic part writing. In example 11-5, Bach destroys the sense of parallel fifths (outlined in 11-5a) by suspending the first fifth into the time span of the second (alto, 11-5b). By adding the suspension, Bach creates a dissonance below D on the first beat of the measure. The accented dissonance between the two fifths makes it difficult for us to hear the fifths as parallel.
Ex. 11-5 Suspensions and Parallel Fifths
A suspension may not create parallel unisons or octaves with another voice. Nor can a suspension correct parallel unisons or octaves in the basic part writing.
Most suspensions arise in the upper voice. Although we see bass suspensions less often, they can be very effective. Bass suspensions require, however, special attention.
The bass defines a
chord.
If we suspend that bass, we create harmonic ambiguity. What is the root of
this triad? We do not know until the bass suspension resolves. For this reason,
it is best to anticipate the resolution of a bass suspension if the triad
is in
position. Although this weakens the effect of the suspension, it clarifies
the harmony.
The
provides
the most successful bass suspension. The root and fifth define a triad. The
root and the fifth of a
triad lie
in the upper voices, so they are unaffected by a bass suspension. Therefore,
we need not anticipate the resolution of the bass third, but can treat the
bass suspension of a
like a
suspension in an upper voice.
Ex. 11-6 Bass Suspensions
In example 11-6a, I moves to V6. Bach
suspends the bass of the V6. The suspension works just as it would in an
upper voice. Example 11-6b is more complex, however. The suspended F is the
root of the final harmony. Bach anticipates the note of resolution (F) in
the alto to keep the root of the triad present even while it is suspended
in the bass. In example 11-6c, Bach suspends the bass of the final
as well.
But since this
is a
voice-leading chord (an augmented triad), the root of the triad is less
important. (Voice-leading chords, remember, have only passing significance.
The identity of their roots is less important than their linear function.)
Here, Bach does not anticipate the resolution, doubling the third
of the G-diminished triad rather than the root.
We identify suspensions by the figures they create.
Figures and the Bass Suspension.
The figures of figured bass show intervals above the bass. When we suspend
the bass note, then, unusual figures result. A
with a
bass suspension and with the resolution not anticipated begins as
a 5/2 before resolving to a
(see example
11-6a, above). A
with a
bass suspension and with an anticipated resolution begins as a
before
resolving to a
(see example
11-6b, above). If the resolution is not anticipated, the figures move
- (see example 11-6c).
Example 16.6d is an excerpt from one
of Bach's figured chorales. (In the figured chorales, Bach gives only soprano,
bass, and figures, but this is all we need to determine the harmonic motion.)
The 5/ figures
are puzzling until we realize that when the bass moves down to B, those figures
become 6/.
Thus we have a
chord with
a suspended bass.
It is possible to suspend more than one note at a time. We risk obscuring the basic harmonic motion, however, when we suspend two notes of a triad. For this reason, it is best to use double suspensions only when the bass progression is strong and unambiguous. As a rule, do not suspend the bass in a double suspension.
In example 11-7, Bach suspends both the tenor and alto at the cadence, creating a simultaneous 4-3 and 6-5 suspension.
Ex. 11-7 The Double Suspension
Save for the direction of resolution,
the upward resolving suspension works like any other. The upward resolving
suspension can suspends the motion
-
(in a V-I or vii6-I progression).
Usually, the upward-resolving suspension is a 7-8 suspension, the bass
anticipating the note of resolution (see example 11-8).
Ex. 11-8 The Upward-Resolving Suspension
The preparation, suspension, and resolution of a suspension can vary according to the context. Several common variants follow.
Ex. 11-9 Variants of the Suspension
When the preparation lies in one voice and the suspension and resolution in another, we have an indirect suspension.
In example 11-9a, the "preparation" for the soprano suspension is in the tenor. We might correctly call this an appoggiatura (see Chapter 10). But we can see that the soprano D is not so much an incomplete neighbor of the C that follows as a suspension of the D of the previous harmony. Example 11-9b represents a more extreme case. Here Bach suspends all three upper voice above the passing vii6. Not only that, but all three suspensions are "prepared" in the wrong voice. Bach "prepares" the suspended soprano D in the bass of the preceding I. Similarly, the tenor "prepares" the suspended B of the alto, while the alto prepares the suspended F in the tenor.
We often see the resolution of a suspension
embellished by a chordal skip or incomplete neighbor note. We call these
variants decorated resolutions. In example 11-9c, Bach suspends the
opening alto B into the cadence. Before the B resolves to A-sharp, however,
it leaps to the lower neighbor of A-sharp, G-sharp. (A-sharp is raised
of B-minor.
Therefore, to avoid the augmented second, its lower neighbor must be raised
-in this
case, G-sharp.)
The suspension principle can also be applied to nonharmonic notes. We might, for example, "suspend" a passing note by delaying its motion to the next chord note.
Ex. 11-10 Variants of the Suspension
In example 11-10a, Bach suspends the passing G of the alto, delaying the arrival of the chord note, F-sharp.
In example 11-10b, Bach turns a simple tenor neighbor note (D) into a suspension.
Not all suspensions are dissonant. If the bass motion between the two time spans is strong enough to define the harmonies, a suspended note is effective even if the suspension itself is consonant. We might analyze the second beat of example 11-10c as a IV6 that becomes a vi as the eighth note F moves to E in the alto. That alto F, though, is approached and left as if it were suspension. As a result, we are more likely to hear that harmony as a vi with a 6-5 suspension even though the suspended 6 is consonant with the other voices.
As a rule, the preparation of a suspension is consonant. On occasion, though, we see dissonant preparations. Commonly, this results from suspending the seventh of a V7 into the I that follows. Thus the 4-3 suspension that results has a dissonant preparation. Bach prepares the tenor suspension in the last measure of example 11-11a with the seventh of a V7. That seventh is, of course, dissonant. Still, Bach suspends it into the final tonic where it resolves to the third, creating a 4-3 suspension.
Ex. 11-11 The Dissonant Preparation
Ex. 11-12 The Anticipation
The anticipation reverses the suspension. A (consonant) note from one time span moves by step to a (consonant) note of the next time span but before that time span arrives. We call this early arrival an anticipation (see example 11-12). Usually, anticipations are dissonant.
The anticipation arises in a metrically weak position within the first time span. Unlike the suspension, however, the anticipation is not tied into the second time span. Rather, we repeat the anticipated note as the second time span begins. In the metrical arrangement of example 11-12, above, the anticipation arises on the last eighth of the first time span.
Parallel fifths that arise between the anticipation and passing or neighboring notes in another voice create no problem if the anticipation is dissonant (see example 11-13a).
On occasion, Bach allows an anticipation to break up parallel fifths in the basic part writing (see example 11-13b).
Ex. 11-13 The Anticipation and Parallel 5ths Like the suspension, however, the anticipation may not create parallel unisons or octaves with another voice. Neither can it correct parallel unisons or octaves in the basic part writing.
The indirect anticipation arises when we transfer the repetition of the anticipated note to another voice. Some theorists call the indirect suspension an anticipatory arpeggiation. If we begin a chordal skip from the second time span before the first span is over we create such an anticipatory arpeggiation.
Ex. 11-14 The Indirect Anticipation
In example 11-14a, the anticipations in the soprano actually "anticipate" pitches two octave lower (in the bass staff) as the soprano skips to a different chord note. There results a chordal skip in the soprano-but one that begins an eighth note too early.
Many of the so-called escape notes
(described in chapter 10) are in fact indirect anticipations. The soprano
C of example 11-14b is less an incomplete neighbor of the soprano B than
it is an anticipation of the subsequent C in the bass. Thus, soprano C-A
is a chordal skip within the
chord,
but one that begins an eighth note too soon.
When a sustained note in one voice accompanies a continuing chord progression in the other voices, that sustained note is a pedal point. As a rule, pedal points arise when a composition has reached an important harmonic goal. We find pedal points most often in either the soprano or the bass. Pedal points usually arise on the dominant or tonic and usually at the beginning or end of a phrase, section or composition. The pedal point both firmly establishes the root of this harmonic goal and dramatically delays the resolution of the upper voices.
In Bach's Chorale 55 we find a soprano pedal point on the dominant. It precedes a half cadence in B minor.
Ex. 11-15 Bach, Chorale 55
The lower voices simply prolong the i that precedes the final V[insert 11] of the half cadence.
The voices above or below the pedal point frequently form harmonies that do not contain the pedal point note. The following dominant pedal point prolongs V in preparation for an authentic cadence.
Ex. 11-16 Bach, Chorale 91
Notice that the long dominant pedal in the bass does not belong to all the voice-leading harmonies in the upper voices.
Avoid doubling the note of resolution (called "anticipating the resolution") so as not to weaken the effect of that resolution. Usually, the parallel fifths that arise from suspensions are no problem. However, avoid creating parallel unisons or octaves with any suspension.
Bass suspensions work best in
position.
You may suspend two or even three notes at a time. A suspension may resolve
upward. Most upward resolving suspensions are 7-8 suspensions. Indirect
suspensions arise when the preparation and suspension are in two different
voices. The seventh of the V7 occasionally serves as a dissonant
preparation for a I4-3 suspension.
In the anticipation, the note of the second time span arrives early, on a weak beat of the first time span. The anticipated note repeats itself as the second time span arrives. Parallel fifths that arise between a dissonant anticipation and a melodic figuration in another voice cause no problem. An anticipation may not create parallel unisons or octaves. An anticipation may break up parallel fifths present in the basic part writing.
A note sustained in one voice throughout a continuing progression in the other voices is called a pedal point. Pedal points serve to accent the arrival of important scale degree triads (usually V or I).
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