Harmony, its theory and practice . hord. But at (f) there is no sus-pension ; because the D is a note of the second chord, andmoves by leap of a third; besides which a suspension cannotform a part of the chord over which it is held. (§334-) Thesuspension is indicated by S. 337. The figuring of suspensions will be explained later; westop here, before giving further rules, to remark that, being * Evidently a suspension cannot be prepared by a passing note, for thatwould not be a note of the preceding chord. 146 Harmony. [Chap. XI. unessential discords, they are not indicated in marking theroots;
Harmony, its theory and practice . hord. But at (f) there is no sus-pension ; because the D is a note of the second chord, andmoves by leap of a third; besides which a suspension cannotform a part of the chord over which it is held. (§334-) Thesuspension is indicated by S. 337. The figuring of suspensions will be explained later; westop here, before giving further rules, to remark that, being * Evidently a suspension cannot be prepared by a passing note, for thatwould not be a note of the preceding chord. 146 Harmony. [Chap. XI. unessential discords, they are not indicated in marking theroots; the true nature of the chord is seen when the suspensionis resolved. We now proceed with our rules. 338. II. The preparation of a suspension (that is, the sound-ing in the preceding chord of a note to be suspended) must bein the same voice with the suspension itself This is shown at{a) and (J)) of Ex. 258. But if the D in those examples werenot prepared in the same voice, — Ex. 259. I be not i a suspension, but an accented. the second note wouldauxiliary note. 339. III. The suspension must always be on an accentedbeat of a bar (in triple time, either the first or second beat—see§ 189, note) ; the suspended note may be either tied or repeated ;and the resolution of the suspension must be on a less stronglyaccented beat than the suspension itself 340. IV. If the suspension be tied to its preparation, thelatter should be of at least equal length with the suspension; itmay be longer, but it should not be shorter. When the sus-pended note is sounded again, this rule is not so strictly observed; Handel. Samson. Ex. 260. 4 3 Here the B flat in the second chord is not a part of the domi-nant triad; it is a suspension, of the value of a dotted minim;but its preparation is only a crotchet. Occasional exceptionsfrom this general rule are to be found, as in the following passage— Bebthovkn. Mass in D. Ex. 261. where a suspended crotchet is prepared by a quaver, but thestu
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