Using Suspensions to Harmonize a Descending Bass - Music Composition

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Here's an idea for writing a sequence based on using a chain of suspensions above a descending scale in the bass line. Descending scales in the bass can be awkward to harmonise satisfactorily without generating parallels. This pattern illustrates one way of handling the situation in a way that is musically interesting and which activates an engaging use of musical tension. These kind of structures are useful for composers working in any genre and are especially for building bridges or other connections between musical ideas.
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🕘 Timestamps
0:00 - Introduction to using suspensions to harmonize a descending bass
1:13 - An example of bad harmony
2:10 - A way around it using suspensions
6:12 - Playing the piece
6:22 - Tension and release effect
6:57 - An alternative with suspensions in the middle part
8:07 - Conclusion
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Опубликовано:

2 июл 2024

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Комментарии : 21

@MusicMattersGB 10 месяцев назад

Learn Music Online - Check out our courses here! www.mmcourses.co.uk/courses

@stellalaker3550 5 месяцев назад

Thanks for making music theory easier to learn and enjoyable .

@MusicMattersGB 5 месяцев назад

A pleasure. Much more at www.mmcourses.co.uk

@jayducharme 8 месяцев назад

It's interesting how in your second example, the descending line sounds much more prominent than in the first example where the suspensions seem more dominant.

@MusicMattersGB 8 месяцев назад

Yes. You can really change the flavour and impact of the line.

@lovaaaa2451 5 месяцев назад

It really makes things easier to understand these kinds of sequences in the framework of schemas to give a cohesive idea of what all these schemas have in common as well as how they function, to fill out a space between a presentation of materials, cadences and so on. This one is called the 7-6 fauxbourdon and is a variation of the fauxbourdon which is just a sequential use of 3-6 chords for anyone interested. The equivalent for an ascending scale is the monte which alters 3-5 chords with 3-6 chords in exactly the same way. Neither of these are good for harmonizing the scale of course because it's quite empty of harmonic content but gets you well from one point to another, this emptiness is why these simple schema were used less and less through the romantic period where musical material became more dense.

@MusicMattersGB 5 месяцев назад

😀

@lawrencetaylor4101 5 месяцев назад

Merci to Alex and you for making excellent videos. When you were talking about suspensions months ago I had no idea what you were talking about. And now I'm building up my keyboard skills to play them, and I understood the theory behind this lesson. Finally. I'm learning the ukulele, tenor & baritone, and want to apply this to learning the fretboard. My teacher is more than willing to help me along that path.

@MusicMattersGB 5 месяцев назад

That’s great.

@michaelgonda962 5 месяцев назад

I usually watch your videos on my TV so I can't post a comment. I happened to watch this on my laptop today and just wanted to drop a note to say that you are one of the best music educators I have EVER listened to or watched in my 40-year-long study of music theory. Even if I already know about the subject I am a forever student because it's the best way to keep my mind engaged. I am constantly learning and relearning theory.... and WOW, your content is always just amazing! I have taken a few course from your website as well, just fantastic education all the way around. THANK YOU and please keep up the excellent work!

@MusicMattersGB 5 месяцев назад

That’s really kind of you. Thank you. Glad you find our content helpful.

@nielsgregersen1351 5 месяцев назад

Stepwise variation on the diatonic circle of fifths progression. Without suspensions you played romanesca

@MusicMattersGB 5 месяцев назад

😀

@cyberoptic5757 5 месяцев назад

I appreciate the idea... fingering for the right hand is an unknown for me. Trying different things. Do viewers already know the best fingerings for legato?

@MusicMattersGB 5 месяцев назад

There are various options including simply hopping fingers. If you want to achieve legato you have to engage in finger substitution.

@jonorgames6596 5 месяцев назад

Thanks for the video! May I make a suggestion. I have a few courses of yours, but have you covered enharmonics anywhere? What I struggle with (perhaps I am the only one?) is, especially in keys with many sharps and flats, is when to use a sharp "#" and when to use a flat "b"? When i modulate alot, and also use borrowed chords, for example, I dont feel that it is obvious always, what symbol to use? What is easier to read for a pianists, and what is the "rules" of how to do this? Thanks.

@MusicMattersGB 5 месяцев назад

We do cover enharmonics in our theory courses but this is a topic to which we could return in RU-vid videos.

@martinbennett2228 5 месяцев назад

Good video, I can see that a strong descending bass can be used to dramatic effect, but what am I missing? It looks to me that you start and finish on C in the root position, but that the sequence in between (a, G, F, e, d, C, b dim) are all in first inversion (once resolved). I do wonder how this works in four parts, without writing parallel octaves, or at least some awkward leaps (and doubling of mediants), also I am not sure how this sequence would work in the minor because of augmented and diminished chords in the 'wrong' places.

@MusicMattersGB 5 месяцев назад

These often work better in three parts but one can organise a reasonable more disjunct fourth part. Descending melodic minor is often the answer to your minor question.

@corrinneloudon525 5 месяцев назад

Hi Gareth, my grade 7 theory textbook (Victoria Williams) seems to think that putting suspensions in the soprano line in the exam question is a strict ‘no-no’. So clarity, please 🙂?

@MusicMattersGB 5 месяцев назад

You generally shouldn’t alter a given melodic line in a theory exam unless otherwise directed but in real music suspensions appear in all parts.