Acorde suspenso

Acordes Suspensos são aqueles em que a quarta (11) ou a segunda (9a) substitui a terça, gerando uma suspensão. O acorde suspenso não é considerado maior nem menor por não possuir terça. A terminologia "suspenso" vem dessa condição de não ser maior ou menor, necessitando de uma resolução por estar "suspenso".

O acorde suspenso também pode ser pensado como um resultado da nota melódica chamada ritardo ou, em inglês, "suspension". Sobre isso o Grove nos informa: "Suspension (1) (Fr. suspension; Ger. Vorhalt; It. sospensione). A dissonance configuration in which the dissonant or Non-harmonic note is tied over from the previous beat (where it is consonant) and resolved by step, usually downwards; a suspension whose non-harmonic note resolves upwards is sometimes called a 'retardation' (from Lat. retardatio, a term used in the 17th and 18th centuries). (2) In French Baroque performance practice, the expressive truncation of a note at its beginning, as shown in ex.1 from Couperin's L'art de toucher le clavecin (Paris, 1717); the remainder of the harmony normally appears in its expected position on the beat, while the exact length of the delay is determined by the performer's taste. The term 'demi-soupir', as well as 'suspension', was sometimes applied to this ornament, and the fact that Brossard in his Dictionnaire des termes (Paris, 1701) defined the Italian cognate mezzo-sospiro as a figure (identical with the modern quaver rest) which 'marks that one is silent for the eighth part of a bar' suggests that the ornament may originally have been a vocal device. (JULIAN RUSHTON)

Muitas vezes o acorde em segunda inversão soa como um acorde suspenso. O texto do Grove dictionary fala o seguinte: "Six-four chord (Ger. Quartsextakkord). A three-note chord consisting of a bass note with a 6th and 4th above it. In thoroughbass it is indicated by the figure '6' placed above the figure '4'. In terms of fundamental bass theory a 6-4 chord is the second inversion of a major or minor triad. In any strict harmonic context it is unstable and, unless used in a transitory context (as a 'passing 6-4', Ger. Durchgangsquartsextakkord), must be resolved to a consonant triad. Most often this is achieved by the conjunct descent of both upper notes (i.e. 6-4 resolving to 5-3); in such cases the bass note is often the dominant ('dominant 6-4' or 'cadential 6-4') and the 6-4 itself functionally a dominant, such that resolution of the upper notes either completes an Imperfect cadence or precedes resolution through a Perfect cadence.


Links para arquivos de textos

Como formar acordes suspensos (sus): Música e Acordes

Acordes Suspensos: Descomplicando a Música

Campo Harmônico (Ver acordes suspensos) - "Artigo extenso"

O que são acordes: Música e Deus (Ver Acordes Suspensos)


Links para arquivos de Áudio e vídeo

Acordes sus2 e sus4 (Vídeo explicativo)


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