Harmony, its theory and practice . — 6 — Here the G in the last bar of the alto is a ninth suspended overthe root position of the chord of F minor. At the moment ofresolution the bass goes to A flat, and the suspension is resolvedon the first inversion of the same chord. The student willhardly need to be reminded that G and B in the bass are passing 148 Harmony. [Chap. XI. notes. But if the root of the chord changes at the moment ofresolution, the preceding chord is not really a suspension. 344. It was said just now (§ 336) that any note of a chordcan be suspended over the next chord, provided
Harmony, its theory and practice . — 6 — Here the G in the last bar of the alto is a ninth suspended overthe root position of the chord of F minor. At the moment ofresolution the bass goes to A flat, and the suspension is resolvedon the first inversion of the same chord. The student willhardly need to be reminded that G and B in the bass are passing 148 Harmony. [Chap. XI. notes. But if the root of the chord changes at the moment ofresolution, the preceding chord is not really a suspension. 344. It was said just now (§ 336) that any note of a chordcan be suspended over the next chord, provided it can move bystep to a note of that chord. But to this general rule there arecertain practical limitations. £x, 266. S (a) !^ , {i). At (a), the ninth, and at (/5) the seventh, are suspended overthe root of the chord. Observe that D is here spoken of as aninth, and not as a second above the root, because a suspendedninth resolving downwards may never be at a distance of a sec-ond from the root; otherwise its resolution gives the forbiddenprogression (§ 81,) from a second to a unison. At (f) thefourth is suspended over the third; and at (</) we suspend thesecond (which can now really be one,) over the third. At (<?)and (/) we see the sixth and the fourth suspended over the fifthof the chord. The upward moving suspensions at (^) and (_/)are rare ; that at ((5) is somewhat more common; but in generalsuspensions resolving downwards are far more frequently usedthan those resolving upwards. 345. The practical limitations of which we spoke just noware seen as soon as we try to make a suspension over any of thedissonant notes of a fundamental chord. The note above theseventh is the root, and the note below it (as we
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