. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . ple, form of the third melody, before it was embellished by Suspensions, was thus: pi =F=S m E i=t *3) Susp. on the 1st and 4th beat of each measure. — *4) The dot is a Suspension. *6). — *5) In this melody, Double suspensions may occasionally be used. — *6) Each dot is to be a Suspension, as if the notation were Js_^J J throughout. — *7) Suspen-sion in alto. — *8) Susp. in tenor. — *9) Double suspensions in soprano and Construct Original phrases, with Suspe
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . ple, form of the third melody, before it was embellished by Suspensions, was thus: pi =F=S m E i=t *3) Susp. on the 1st and 4th beat of each measure. — *4) The dot is a Suspension. *6). — *5) In this melody, Double suspensions may occasionally be used. — *6) Each dot is to be a Suspension, as if the notation were Js_^J J throughout. — *7) Suspen-sion in alto. — *8) Susp. in tenor. — *9) Double suspensions in soprano and Construct Original phrases, with Suspensions. CHAPTER XLVI. IRREGULAR RESOLUTIONS OF THE SUSPENSION. 263. Simultaneously with the diatonic progression of the Suspension intoits resolving-tone, the other voices may make any smooth progression whichdoes not interfere with the resolution of the Suspension. This progression ofthe other parts, at the moment when the Suspension is resolving itself, maybe limited to a simple alteration of the form or inversion of the same chord;or it may effect a change of chord, or even of key. For illustration:. Modulations : 1 fv *i) While the Suspension (e) is resolving to d, the bass progresses in such a manner as toalter the to a ; in the next measure, to a — *2) Duringthe resolution of the Suspension (c), a modulation is made. 264. Other licences of resolution, such as the prolongation of the Suspen-sion — the indirect resolution (through an intermediate tone of the samechord) — and the exchange of Double suspensions, are possible, but of com-paratively rare occurrence. For example: 144 THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 265. S. — — s. C majorand minor i 1 — r S.— res. n i 1^1= J. A •a) 1= I *3) ■4- >^^- *4) C I V iW V I- I- *i) The Suspension (c) in soprano is prolonged for 3 beats, before its resolution into btakes place. — *2) All three Suspensions are prolonged, while the bass progresses.
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