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When composing a figured bass Roman numeral analysis for a chord that has more than one suspension, is it typical to denote both suspensions, as I have done at the end of my analysis?

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Yes, you've done this exactly correctly!

You can even take this one step further by showing, for instance, that the 4-3 also then moves to ♭3.

And the same will apply to the next measure as well. One interpretation of this is to view it as a V chord with a 6 and a 4 held above it (albeit as passing notes, not as suspensions), in which case you could use a 6-5 and 4-3 (and even an 8-7!) along with the V.

But as I said, that's only one interpretation of that next-to-last measure. Another one is similar to what you did in m. 4 with the I64 moving to V.

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  • Thanks for the tips! Also, thanks for the clarification on the cadential 64 as well. Very interesting stuff. – Nakul Tiruviluamala Feb 8 at 23:46

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