Nikolai Rimsky-Korsakov · section 73 of 96

Ascending and simultaneous suspensions

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§ 71.— 1) Ascending suspensions by a minor second are more satisfactory than those by a major second; the most commonly used ascending suspensions are leading notes that delay the tonic.

The note of resolution must not be in a part higher than that of the suspension:

BAD — GOOD — Fig. 297 · See it in the reader

Nor must it be in the alto, nor in the chord of the sixth:

[Example] — Fig. 298 · See it in the reader

2) In double and triple suspensions the parts must move in parallel thirds and sixths or in contrary motion:

3) Sometimes two suspensions, each incorrect on its own, become correct through being combined:

Bad: the soprano suspension D sounds against C, its note of resolution, in the tenor. Bad: the tenor suspension B sounds against C, its note of resolution, in t — Fig. 300 · See it in the reader