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If you still are unclear about the three parts of the suspension figure or the distinction between 4-3, 7-6, 9-8, and 2-3 suspensions, review the page on suspensions. If you still do not understand how to create a suspension in a melodic line, review that page (mod 22).
Embellishing the Suspension
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In a suspension it is possible, at the moment the suspension resolves, to change the bass note and harmony. In example e) there is a simple 7-6 suspension. Look on to the same setup in example f) and you can see at the same moment the suspended D resolves, the bass and the harmony change. In fact we are forced to analyze the suspension with the unlikely numbers 7-3. This is because the interval from bass to suspension is a fourth; when the suspension resolves, the interval to the bass is a third.
At times the suspension come in handy to prevent parallel fifths. In example g) there are parallel fifths between the soprano and tenor. Recall the definition of parallel fifths: a perfect fifth that moves directly to another perfect fifth in the same voices. In example h) the perfect fifth D-A moves obliquely to a sixth C-A; the perfect fifth C-G comes later, thus, evading the parallel fifths.
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In the example i) there are consecutive examples of parallel fifths in the faux bourdon figure. The the use of a chain of suspensions, all of these parallel fifths are averted. The chain suspension is the situation where each resolution of the previous suspension becomes the preparation for the next suspension.
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If you still have questions, contact Dr. Bartolotta at wbartolo@odu.edu.