Ian MacDonald (music critic/author) writes of the "heartbreaking suspensions" that characterize the harmony of "The Long and Winding Road". I was curious about this, so I printed the first page of sheet music (transposed to C major).
In the first bar, here is a B note sung over a vi chord as it moves into the iii chord, though the melody doesn't remain on the B but rather moves to a G. Does this count? In bar 3, a b-flat is sung in the bass while the chords above move from a C7 (I) chord (with notes C, E, and B-flat) to a IV chord (containing C, F, and A) prior to the subsequent down beat where the bass plays the root of the IV chord. Is this a suspension, even though it takes place in the final eighth note of the measure?
I'm just not sure if i'm seeing was MacDonald describes . . . I am also now realizing that I may have "anticipations" and "suspensions" confused. Regardless, I don't see these chords necessarily falling into either camp. Perhaps this occurs later on in the song.
Another note . . . do the flat 7 and flat 3 notes push the progression along, or are they just used as flavor for the individual chords they belong to?
Here is an image of the music--if it is too hard to see, then please refer to the source where it came from:
Thank you kindly!