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In the above picture in measure 2, suspension 7-6 is shown.

It is from E to D and C. I counted the semitones, they turn out to be minor 7th and minor 6th apart and not Major 7th and 6th. So I wonder, when you say suspension 7-6, does it include minor and major 7th and 6th?

So, for example, Sus4 built on F can include both B and Bb or even B#? In other words, when you say Sus4 is built using Perfect 4th, does it also include Augmented 4th?

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    I would call it "agnostic" instead of "ignorant", but I understand your question regardless. Commented Mar 19 at 16:06

3 Answers 3

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  • All suspensions resolve downward by either a tone or a semitone.
  • In 4-3 suspensions always involve a perfect fourth, but the "3" can be major or minor.
  • With the other suspensions, each interval above the bass can be major or minor or perfect, but the distance between the note of suspension and the note of resolution will be either a tone or semitone.
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  • "With the other suspensions, each interval above the bass can be major or minor": not if it is a 6-5 suspension.
    – phoog
    Commented Mar 19 at 19:25
  • @phoog Thanks. Fixed now.
    – Aaron
    Commented Mar 19 at 19:42
  • Is it correct to say the 8, 5, and 4 on either the suspension or resolution will be perfect? I think so. Commented Mar 19 at 19:45
  • @MichaelCurtis To the best of my knowledge, for resolutions, yes, since the resolution must be consonant with the chord of resolution. And for the suspension, I don't know of a counterexample.
    – Aaron
    Commented Mar 19 at 19:48
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Suspensions (and retardations) substitute a different diatonic note, which then (usually) resolve to another diatonic note, producing a more familiar and harmonic chord.

Suspensions resolve down, and retardations resolve upwards, as in sus 4, for example, will drop ^4 down to ^3, be it major or minor, while 'sus' 2 (as it's become known) will rise to ^3, again major or minor. The extended versions, as in your higher numbers, will work in just the same way.

So, the sus/ret will be either a semitone or a tone away from the resolution note, the key, or kind of key dictating whether the difference is that semitone or tone.

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  • If they're all purely diatonic, then is the sus chord consisting of F-B-C possible in C major, a key where B is diatonic and the usual B flat (for Fsus4) is not? I think this is one of the chords Sean is referring to in "In other words, when you say Sus4 is built using Perfect 4th, does it also include Augmented 4th?"
    – Dekkadeci
    Commented Mar 19 at 14:48
  • @Dekkadeci - good point. Have you tried both? I did , and in context, either worked. Aug4 doesn't particularly work in any situation I find myself.
    – Tim
    Commented Mar 19 at 17:20
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So, for example, Sus4 built on F can include both B and Bb or even B#? In other words, when you say Sus4 is built using Perfect 4th, does it also include Augmented 4th?

Without getting into details comparing the old counterpoint style of harmony to the modern chord root system, the basic idea is any augmented or diminished interval is dissonant, and those dissonances should be resolved in the direction of the augmentation or diminution. So, augmented intervals resolve by expanding out to a bigger interval and diminished intervals resolve by contracting in to a smaller interval.

  • A4 should resolve by expanding by contrary motion to a major/minor sixth.

  • d5 should resolve by contracting by contrary motion to a major/minor third.

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