I came across a 7-5 suspension for the first time today- as seen in the image. This is the first time I have come across a suspension which has a change of bass (that isn't an octave leap or fall) at the note of resolution.
Is it the case that when coming across suspensions like a 7-5 and 4-6, you take their first number as a cue that they will operate in the same way as their more conventional counterparts: 7-6 and 4-3, in terms of the bass note /inversion? Eg, If I see a 7-5 suspension, is it best to assume that, like the 7-6 suspension, the third will be in the bass, and the second of the chord will be the suspended note?
In the above example, as we are in A minor, my interpretation is that we have a chord of C major under the suspended note D, as I am treating the E in the bass as the third, the D as a suspended second, and the impending C as its root. Then, the bass note moves to F, exactly as the suspended note is resolved to C. In my interpretation, the harmony changes at this point to F major. In A minor, these would be chords III and VI. Is this correct?
Is it the case that with regards to suspensions whose bass notes change at the point of resolution, sometimes the bass will simply change to a different chord tone, continuing the same harmony, and sometimes the bass will change to a note that changes the harmony all together? Is it simply a case of looking at the rest of the progression and seeing what makes most sense?
The example is from a Figured Bass workbook. Online I can only find examples where the harmony stays the same, even if the bass note changes. Yet I couldn't interpret this example over one chord. so am I missing something?
Thanks for any time spent on this!