Exercise

Bass 227 — Suspension 7–6

SuspensionsF major

Corpus id bass-227 · cite this id — it is permanent

What it teaches

The 7–6 suspension: a held voice becomes a seventh when the bass steps down beneath it, and resolves to the sixth — the suspension of first-inversion writing.

The given bass

4/4	bar 1		bar 2		bar 3		bar 4		bar 5
Bass	F3	F3	E3	E3	F3	B♭2	C3		F3
Figures		6	7	6

The given bass and its figures (F major, 4/4; ⌒ = tied from the previous note)

The model realization

4/4	bar 1		bar 2		bar 3		bar 4	bar 5
Soprano	C5	D5	D5	C5	C5	D5	C5	C5
Alto	A4	A4	G4	G4	A4	B♭4	G4	A4
Tenor	F4	F4	G4	G4	F4	F4	E4	F4
Bass	F3	F3	E3	E3	F3	B♭2	C3	F3
Figures		6	7	6

The model realization (F major, 4/4; ⌒ = tied from the previous note)

The sixth chord’s own suspension: the D is prepared by the 5–6 exchange over the tonic, becomes a seventh when the bass falls to E, and resolves to the sixth of a first-inversion chord. Where the 4–3 belongs to the cadence, the 7–6 belongs to the stepwise bass.

At the keyboard

The three upper voices of the model realization fit under one hand. The soprano’s D was the sixth a moment ago; the bass steps down and the same finger is suddenly a seventh. Nothing above moved — the dissonance was made from below. Carry it into C major, G major.

Voice-leading patterns this exercise drills

Cite this exercise

Gradus Figured-Bass Corpus, bass-227 — Suspension 7–6. v1.0. https://gradusmusic.com/figured-bass-corpus/exercise/bass-227

Corpus v1.0 · licensed CC-BY-4.0 · machine-readable at /api/v1/figured-bass/exercises/bass-227

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