Rhythmic Figuration

Homework: Workbook Chapter 21 or Textbook all "Exercises"

In the last chapter we saw that melodic figuration was an important way to animate and individualize the voice or voices in which it appears. Such figurations as Arpeggios, Passing and Neighboring tones were presented as heightening the rhythmic activity of a passage as a by product of melodic motion.

1.  Rhythmic Origin

a. A suspension arises when a tone moves out of its normal position in time and continues into the segment of time normally belonging to the next tone.
b. A Double Suspension arises when two tones simultaneously move out their normal position and continue into the segement of time normally belonging to the next two tones.
c. A figure containing a suspension consists two notes functioning as 3 elements: Preparation, Suspension, and Resolution

1. Preparation: The preparation is the first part of the initial tone and is Typically consonant and plays a more traditional harmonic function

2. Suspension: The suspension is the second part of the initial tone that continues into the segment of time normally belonging to the next tone. Often the suspension is tied from or a repetition of the preparation and is dissonant over that which it resides.

3. Release (Resolution): The release is the second tone to which the suspension moves. If the suspension is dissonant, the term Resolution is used in place of Release.

2. Metric Position
a. The suspension tends to be in a metrically strong position compared to its release or resolution.

3.  Dissonance Treatment
a. As you may guess, a dissonant suspension must resolve to a consonance by downward stepwise motion.
b. A consonant suspension need not resolve and can move up or down by step or leap.

4. Suspensions and Polyphonic textures
a. Suspensions create a much greater degree of tension than most passing and Neighboring tone and thus draw a lot of attention to that voice in which they occur.

5. Numerical Symbols.
a. Suspensions are identified by the numbers identifying the intervals formed by the suspension proper.

6. Suspensions in 4 voices.
a. Suspensions in any upper voice is counted from the bass.
b. It is common to use horizontal lines to indicate the other voices sustain through a resolution. This is particularly true when the resolution is in the bass.
c. Since the other intervals are not given in upper voice notation of suspensions, you must learn what intervals are implied by the figures.
d. Never double the suspension as it will lead to ¶s

7. The 4-3 Suspension
a. Accompanied by a 5th above the bass and resolves into a 5-3

8. The cadential suspension (V4-3)
a. Similar to the cadential 64, the cadential suspension takes the form of a 4-3 suspension over a V chord.

9. The 7-6 suspension
a. Accompanied by a 3rd above the bass and normally resolves into a 6-3
b. The bass or the 3rd above is doubled.
c. Sometimes the 5th above is doubled. When it is, it must move out of the way unless the resolution explicitly calls for a 7th.

10. The 9-8 Suspension
a. Very versatile. It always contains a 3rd above the bass
b. Also contains a 6th or a 5th above
c. When the 6th appears, the resolution of the dissonance is to a 6-3
d. When the 5th appears, the resolution of the dissonance is to a 5-3
e. Sometimes a 5-6 succession may accompany the 9-8

11. The 6-/54 and 76/4-
a. These figures are found most commonly as suspensions into Cad64s.

12. Anticipating the tone of resolution
a. In general, it is usually best to avoid having the tone of resolution in another voice before the suspension resolves as it lessens the impact of the suspension.
b. The one exception is in the 9-8 suspension when the bass is so grounded it does not detract from the independence of the resolution.
c. When the texture or orchestration has greatly contrasting elements, anticipating the tone of resolution is less problematic, sometimes unavoidable, and occassionally desired.

13. The Bass Suspension
a. The most common is the 5-2 where the bass resolves to a 63 chord.
b. Note in the 5-2 suspension over a V, an anticipated resolution will yield a doubled leading tone.
c. Less frequently we see a bass suspension lead into a 53 chord as a 9-4 (also sometimes confusingly called a 4-2)

14. Suspensions with moving bass
a. The bass can move at the same time as the suspension resolves.
b. Bass can move to a different position of the same chord
c. Bass can move to a different chord
d. Bass can move to a passing tone

15. Suspensions into 7th chords
a. A particularly lovely effect is to resolve a suspension into any chord that can syntacticly support a 7th.

16. Suspensions in series; sequences
a. a series of 7-6 suspensions can accompany a descending bass line
b. Decending 5-6 can be decorated by a suspension in the bass
c. Like the 5-6 sequences, a chain of 7-6 suspensions can form a sequential passage.
d. Suspensions can be used to decorate a pre-existing sequence.

17. Indirect suspensions
a. H&VL is simply stating that suspensions need not stay within the same voice.

18. Suspensions with dissonant preparation
a. Sometimes we see the preparation of a suspension coming from a dissonance. When this occurs it is often the result of a chordal 7th or P or N being suspended before resolving.

19. Upward resolution of dissonance
a. The downward resolution of the 4-3, 6-5 or 9-8 or a 7-6 (of 63 chord) suspensions are all very satisfying because move to tones within the chords to which they resolve.
b. When the leading tone is suspended into the I chord (sometimes the VI chord) a downward resolution would not allow it to fall to a chord tone. As a result, it will sometimes resolve up. This upward resolution is particularly effective in a double (or even triple) suspension of the V7 into a I5

20. Decorated resolutions
a. Frequently ornamental tones decorate the resolution of a suspension

21, 22, 23 . Delayed transferred and elided Resolutions
a. One can build tension by delaying the resolution of a suspension, transferring it to another voice, or omitting it entirely.

24. Suspensions on weak beats
a. We have stated that the suspension will happen on a metrically stronger beat than its resolution. H&VL simply states here that for various compositional reasons, there are exceptions.