[Smt-talk] Doubling in Chords with Suspensions

[Nicolas Meeùs]

A long time elapsed since I last wrote tonal harmony, but I think to 
remember that my good old teachers told us that one important aspect of 
the resolution of 9-8 suspensions above their root is the distance to 
the root: the 9 must be at least a true ninth above its root. I don't 
see how such a rule could be expressed in terms of pitch classes.

Nicolas Meeùs
Université Paris-Sorbonne



Le 6/11/2012 01:42, Ninov, Dimitar N a écrit :
> Dear Colleagues,
>
> Dmitri Tymoczko’s point of discussion is something that I have also dealt with for a long time. I would like to offer juts a few points on this topic.
>
> The numbers are irrelevant, and they cannot provide correct information about a possible doubling.
>
> For instance, a 9-8 suspension may represent a displaced root in a root position triad; a displaced third in a first inversion triad, or a displaced fifth in a second inversion triad.
>
> A 4-3 suspension may be a displaced third in a root position triad, or a displaced fifth in a first inversion triad (a disguised 6-5 as referred to the root).
>
> A 7-6 may be a displaced root in a first inversion triad (a disguised 9-8) or a displaced third in a second inversion triad (a disguised 4-3).
>
> The 5-4 will be a displaced root in a second inversion triad (a disguised 9-8; something that Schenkerians would not like very much).
>
> I think that Kostka and Payne make a conspicuous mistake with the generalization that the 9-8 will always work well, but one would be "very disappointed" if one tried to double the displaced tone in a 7-6 or 4-3 suspension. They obviously assume that numbers always reveal the same picture. But they do not. One 9-8 could be acceptable, another – could not. One 4-3 could be acceptable (doubling of the fifth in a first inversion triad), another – could not. One 7-6 is perfectly acceptable (a doubled root in a first inversion triad), another is not, etc.
>
> Since numbers are irrelevant, it is important to know which tone of the chord has been displaced and what is the normative doubling in the particular position of the chord. Other factors such as distance from the suspension and position (above or below) are also to be taken into account, but I will save this revelation.
>
> Finally, appoggiaturas must also be numbered as suspensions. When I say appoggiaturas, I understand all three accented profiles: passing, neighboring and leaping – when they clash with the chord. As for retardation in an upper voice and bass, they also have to be numbered and be a subject of experimentation.
>
> Thank you,
>
> Dimitar
>
> Dr. Dimitar Ninov, Lecturer
> School of Music
> Texas State University
> 601 University Drive
> San Marcos, Texas 78666
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