Understanding the 4-3 Suspension in Counterpoint

In Renaissance counterpoint, consonances and dissonances follow specific rules. Consonances include unison, third, fifth, sixth, and octave. Dissonances include second, fourth, seventh, and ninth. The only situation where two consecutive consonances occur is when one voice stays on the same note while the other moves, specifically with intervals of 5-6. This pattern (consonants-dissonance-consonants) is characteristic of Renaissance polyphonic music by composers like Lassus and is very rare in later Baroque styles. The rule must be followed with complete strictness when the melody moves in semiums.

In the first species of counterpoint, only consonances are allowed: thirds (do-mi), sixths (do-la), fifths, and octaves. Dissonances include seconds, sevenths, fourths, and tritones. A critical rule is that parallel fifths and octaves are forbidden because they destroy harmonic independence. Every two-note combination creates an inherent harmony - do-mi creates a do major chord, while do-la creates an la minor chord with do in the bass. The second species introduces dissonances, which are essential for musical interest. Dissonances must enter and exit by step and occur on weak beats. Music with only consonances becomes too simple and childish; dissonances add special flavor and tension to music.

Consonances (unisons, octaves, perfect fifths) create stable sounds and can be used freely, though excessive use creates hollow sound. Parallel perfect intervals (parallel fifths and octaves) are forbidden as they create hollow, medieval sound. Interchangeable perfect intervals (moving between perfect intervals) should be avoided. Thirds and sixths are consonances that can be used freely, though limiting their use to three consecutive occurrences maintains variety. Dissonances (seconds, fourths, sevenths, ninths) create tension and require resolution. Dissonances cannot be used in first species but can be used in later species when properly resolved on weak beats. Tritones are forbidden as they create unstable, dissonant sound. Chromaticism (using notes outside established tonality) is forbidden in traditional counterpoint.

Understanding consonances and dissonances is fundamental to counterpoint. Consonances are stable points of resolution including: perfect consonances (unisons, fifths, octaves) and imperfect consonances (thirds, sixths). Dissonances encompass all other intervals. The fourth interval is generally considered a dissonance despite being a perfect interval. When creating counterpoint, resolutions must always lead to stable consonances. A practical exercise is one-to-one counterpoint using each consonance type (thirds, fifths, octaves, sixths) to understand how they resolve and sound against different chord changes.

Dissonance refers to chords that create tension and conflict in music, while consonance refers to chords that allow for rest and resolution. Like a good book with conflicts and resolutions, music moves between consonance and dissonance. No chord is inherently 'wrong' - complex and dissonant chords simply require justification through musical context, similar to how people sometimes need a partner to justify their existence.

A suspension is a non-chord tone that begins as a consonant member of a harmony or counterpoint, is held over as the music changes around it to become dissonant, and then resolves down by step to become consonant again. This creates a three-part phenomenon: preparation (consonant origin), suspension (dissonance), and resolution (return to consonance). Missing any part means it's not a suspension but another type of non-chord tone.

A suspension consists of three parts: Preparation (P), Suspension (S), and Resolution (R). The preparation note fits with the first chord. The suspension note is sustained from the preparation but creates dissonance with the second chord. The resolution note fits with the second chord and is reached by step, typically downward. The same note serves as both P and S.

A suspension consists of three elements: P (prepared note belonging to the first chord), S (sustained note that creates dissonance with the second chord), and R (resolving note belonging to the second chord). The P is established on the first chord, the S is held over to clash with the next chord, and then resolves to R by step. This creates tension and release in harmonic progressions.

A suspension is a non-chord tone approached by common tone and left by step-down. It requires three components: consonant preparation (the note is a member of the preceding chord), dissonant suspension (the note becomes dissonant when held over), and consonant resolution (the note steps down to become a consonant member of the new chord). Suspensions are labeled by the interval above the bass, such as 9-8 (ninth resolving to octave) or 4-3 (fourth resolving to third). Only specific suspension figures are valid: 9-8, 7-6, 6-5, 4-3, 2-1, and the bass suspension (2-3).

A suspension occurs when one voice retains the pitch of a previous chord while all other voices move to a new harmony, creating temporary dissonance. Three essential elements define a suspension: (1) Preparation - the chord tone that sets up the suspension; (2) Suspension - the preparation tone sustained into the new harmony as a non-chord tone; (3) Resolution - the suspended note moving stepwise down to a chord tone. In figured bass notation, the first number indicates the suspension interval above the base, and the second number indicates the resolution interval. Common suspensions like 4-3 involve a fourth suspending to a third above the base.

In counterpoint second species, where two notes are written against one note of the cantus firmus, dissonances must be placed on weak beats, between two consonances, and approached or left by stepwise motion (never by leap), with the best resolution being a descending stepwise motion in contrary motion with the cantus firmus.

In second species counterpoint, two notes of counterpoint are written against one note of the cantus firmus, with the first note (strong beat) always being a consonance and the second note (weak beat) being either a consonance or a dissonance that must be approached and left by step as a passing note; when the cantus firmus is in the lower voice, the initial interval can be a fifth or octave, with the penultimate measure ending in a fifth followed by a sixth and the final measure in an octave, while when the cantus firmus is in the upper voice, the initial interval can only be an octave, with the penultimate measure ending in a fifth followed by a minor third and the final measure in a unison.

In second species counterpoint, parallel fifths and octaves are prohibited in consecutive strong beats, but a fifth in a strong beat followed by another fifth in the weak beat of the next measure is acceptable when the second fifth is taken by oblique motion with sufficient distance (e.g., one full measure), as this creates a smoother transition; the unison is permitted in second species but must be abandoned by contrary stepwise motion; exercises can terminate by treating the final two measures as first species, displacing the leading tone to the weak beat for stepwise ascent to tonic, or using an anticipatory resolution with an oblique seventh resolving to a 6-8 cadence.

The second species involves placing two notes against each note of the cantus firmus, increasing rhythmic complexity. Dissonances must occur on weak beats and resolve to consonances. Voice crossing should be avoided. The third species involves four notes against one, allowing dissonances on beats 2 and 4. The fourth species introduces syncopation and suspensions, where a consonant note becomes dissonant when a new note enters, then resolves to a consonance. The fifth species is the most advanced form, where students create both voices freely without a cantus firmus, representing the transition from study to actual composition. Each species builds upon the previous one, developing increasingly complex contrapuntal skills.

Second species counterpoint introduces dissonance by adding half notes to a whole note cantus firmus, where dissonant notes must be prepared and resolved through stepwise motion—either as neighbor notes (returning to the original note) or passing notes (moving to another note)—to create coherent musical tension within consonant contexts.