Figure 5/4 - My Music Theory

ABRSM8, Figured Bass

The figure 5/4 should be treated like a 4-3 suspension. Of the two numbers in this figure, the 4^th is the suspended dissonant note, and the 5^th is the 5^th of the root position triad. (Most of the time the 5^th should be included in a normal 4-3 suspension anyway). The 4^th should resolve down to the third, even if the 3^rd isn’t specifically figured.

In this example from Corelli’s Trio Sonata op.2/7, the 5/4 figure requires a 4^th and 5^th above the bass note A. The 4^th (D) is the suspension note, and thus needs to be both prepared in the previous chord and resolved in the following chord, in the usual manner. The 5^th (E) is the 5^th of the Am root position chord.

Sometimes there is a decorative figure between the suspended 4^th and its resolution, and this can make the suspension figure more difficult to spot.

In this extract from Corelli’s Trio Sonata Op.1/1, there are two chords between the suspended 4^th and its resolution (the prevailing key is C major): The 5/4 figure requires the notes C (4^th) and D (5^th) above the bass note G.

The C is the suspension note, and needs to resolve down to B, but before this happens an auxiliary chord of IV7 (Fmaj7) is inserted, returning to a root position dominant with suspended 4^th, finally resolving at the end of the bar. The C is held until it can resolve.

This progression (V4-IV7-V4-3) is relatively common in the Baroque style at a cadence. Here is another example, which is decorated in a slightly different way, from Corelli’s Trio Sonata Op.1/4. The prevailing key is E minor.