Embellishing Tones: Identifying and Writing Suspensions; Identifying Retardations

Embellishing Tones: Identifying and Writing Suspensions; Identifying Retardations - AP Music Theory Study Guide

Hello, music maestros! Ready to turn those harmonic hiccups into triumphant tunes? Buckle up as we dive into the fascinating world of suspensions and retardations. By the end of this guide, you'll be so well-versed in embellishing tones that you'll be able to impress your friends, your teacher, and maybe even that snooty piano across the hall. 🎹✨

A suspension in music is like when a kid holds onto a swing set chain for dear life before finally letting go. A suspension is when a chord tone from a previous chord (like our brave swing kid) is held over into the next chord and resolves by stepping down. Think of it as the chord going, “I’m not ready to move on just yet… okay, NOW I am!” 🎢

For example, imagine we are in a C Major chord, and in the soprano, we have an F that sticks around a little longer before sliding down to E (the third of the chord). This creates a bit of tension that resolves beautifully when the E is hit. We call this a 4-3 suspension in figured bass notation because the interval of a fourth above the bass resolves to an interval of a third above the bass.

Suspensions are inherently dissonant. Even in our seemingly harmonious example of moving from an IV chord to a I chord in C Major, you'll find a major 2nd dissonance between the F and G notes. It’s a bit like that moment in movies when two characters are at odds before they eventually resolve their differences. 🎬

When writing suspensions, especially using 18th-century-style conventions, avoid putting dissonant intervals in adjacent voices. Picture it as trying to avoid sitting between two arguing friends at the dinner table – awkward and uncomfortable. Maintaining proper spacing between voices helps to keep the musical peace.

Suspensions are noted by the interval between the suspended note and the bass of the chord. For instance, in a 9-8 suspension, the suspended note starts a ninth away from the bass and resolves down to an octave away (because an interval of a 9th is essentially a 2nd, just an octave higher).

Imagine moving from a vii° chord to a I chord in F Major. You might see a 9-8 suspension where the third of the vii° chord resolves down to the root of the I chord. Don’t forget, though, to resolve any leading tones upward, ensuring all parts of the I chord are adequately covered.

Common suspensions include:

• 4-3 Suspensions: Often seen in cadences, where the fourth scale degree (from the V7 chord) is suspended and resolves down to the third of the I chord.
• 7-6 Suspensions: Common in progressions like iii-vi in major or V-i6 in minor.
• 9-8 Suspensions: These can occur frequently in various contexts and add delightful tension.
• 6-5 Progressions: Not as common but still useful, often in IV-I or iv-i progressions.

A chain of suspensions is like a musical domino effect where one suspension leads into another, creating an engaging tension-release cycle. Picture a sequence of notes in a C Major chord where the D (2nd) is suspended and resolved, followed by the G (5th), and then the C (root). Just like a well-executed plot twist, it keeps the audience engaged. However, be careful not to overuse it, just like you wouldn’t want too many plot twists in a movie – it might become predictable.

Rearticulated suspensions are when the suspended note isn’t tied to the previous one but re-articulated on the beat. It’s like a dramatic encore where you hit that emotional note again for emphasis. However, it's still important for it to be recognizable so that listeners can follow the harmonic structure.

Now onto retardations – no, not a pause in your Internet connection, but a note that resolves upwards rather than downwards. Imagine it like a kid holding back tears before letting out a joyous giggle. Retardations are less common but can bring a refreshing twist to your musical compositions.

And there you have it, the thrilling yet tender world of suspensions and retardations. Remember, these embellishing tones bring an extra layer of emotion and movement to your music, much like the perfect seasoning to a gourmet meal. So, with your new knowledge, go forth and create harmonies that astonish and enchant! 🎼💫

• 4-3 Suspension: A type of dissonant interval resolving downward by step.
• 6-5 Progression: A chord progression with a bass note moving from the sixth to the fifth scale degree.
• Anticipations: Non-chord tones occurring before a chord change, resolving by step.
• Appoggiaturas: Non-chord tones approached by leap, resolving into the main melody by step.
• Chordal Seventh: Adding a seventh note above a triad.
• Chordal Seventh Resolution: Movement of the seventh note in a chord either down or up by step.
• Dissonant Interval: Two notes together that sound unstable or tense.
• Escape Tones: Non-chord tones approached by step from a chord tone and resolved by a leap in the opposite direction.
• Figured Bass Notation: Musical shorthand from the Baroque period indicating chords and harmonies above a given bass note.
• Iii-vi Progression: Chord progression where the iii chord moves to the vi chord.
• Leading Tone: The seventh scale degree with a strong pull toward resolving to the tonic.
• Non-Chord Tones: Melodic notes not part of the underlying harmony.
• Tendency Tones: Specific notes inclined to resolve to another pitch.
• Voice Leading Rule: Guidelines for the movement of individual voices within a composition.

Now, get out there and let your musical adventures begin! 🎶🌟