In Galant schemata, a Prinner’s longer third stage often features this non-chord tone in an upper voice. In Fenaroli’s rules of partimento, these are the only dissonances, which Vincenzo Galilei called “essential.” The second movement of Corelli’s Christmas Concerto has a continuous chain of these dissonances. Two voices in oblique motion are staggered by a half-bar syncope in fourth-species counterpoint, which is based on these dissonances that Fux called “ligature.” Figured basses may notate these dissonances with a (*) horizontal line between two numbers. Unlike retardations, which resolve upward, and appoggiaturas, which approach unprepared by leap, these on-beat non-chord tones prolong or repeat a prior note, resolve down by step, and come in 9–8 or 4–3 types. A triad’s third is displaced for a fourth or second in chords of this name. For 10 points, what chords with an open, quartal sound and 3-letter pop-music abbreviation may hang before belatedly resolving? ■END■
ANSWER: suspensions [or suspended; accept suspended chord, sus chord, suspended second, suspended fourth, sus2, or sus4; accept 7–6 suspension; prompt on ligature until read; prompt on syncope until read; prompt on intervals like (perfect, major, or minor) second, fourth, seventh, or ninth by asking “what non-chord tone was that dissonance used in?”; reject “sustain” or word forms]
<OL, Classical Music and Opera>
= Average correct buzz position