Appoggiaturas

Complexity : 5/10 (intermediate)

These are simply unprepared suspensions or retardations and the rules governing suspensions and retardations govern appoggiaturas too.
- Accented discord (particularly at the beginning of a bar) is preferable.
- If a note is chromatically altered, it is to be treated as an appoggiatura unless modulation is implied. In such cases, chromatic alteration of accompanying parts can be used judiciously to enhance the effect.
- A chromatic appoggiatura may be approached by an augmented interval.
- Appoggiaturas in the bass are possible but can be ineffective and ungainly if used carelessly. Beginners must avoid this.
- The note of resolution should, as a rule, not be struck against the appoggiatura particularly if the appoggiatura is not in the upper voice. For chords in root position though, the note of resolution may be struck in the bass, provided the appoggiatura is far enough above to be clearly followed melodically.
- Appoggiaturas may obviously be struck below the principal note, too. A typical example is the leading tone appoggiatura to the tonic.


Unaccented Appoggiaturas
These come before the beat instead of on it. If above a principal note, they are diatonic. If below it, they are always at a distance of a semitone, and are therefore more often chromatic.
- Unaccented appoggiaturas of a major 7th or minor 9th are bad against the major 3rd of a chord. Against the root and 5th of a chord, these intervals are acceptable.
- The presence of an unaccented appoggiatura can be usually easily diagnosed if it is remembered that a note quitting by leap is a harmony note. Though this is a guideline, soundness of harmonic basis is the ultimate guide.

Double Appoggiaturas
Both the upper and lower appoggiaturas are taken consecutively, in either order, before the principal note, the figure beginning on the accent.
- The lower appoggiatura is normally a semitone below the principal note, but if the principal note be the major 3rd of a chord, the appoggiatura may be a whole tone below. Upper appoggiaturas are diatonic.
- If the lower appoggiatura is taken first, and is a semitone below the principal note, that principal note may be struck against the appoggiatura in another voice. But this is better avoided if the principal note is the 3rd of the chord.
- The indicator to the presence of a double appoggiatura is the curve of the figure and the use of chromaticism.
- The double appoggiatura can occur simultaneously in two parts, and can be combined with itself, moving in the opposite direction in some other part.

Retardations

Complexity : 4/10 (intermediate)

If a note is repeated or tied weak to strong, and rises a step, then it is a possible candidate for retardation. Their use is comparatively rare.

- Although the retardation of the leading note is the most common, the 3rd and 5th of a major or minor triad, as well as the 7th of V7 can be delayed by a retardation. The root may only be so delayed by a note that is a semitone below it.
- If a single retardation is used, it should ALWAYS be in the soprano.
- It is best to retard the 3rd alongwith the 3rd, and the 5th alongwith the 3rd to ensure musically effective retardations.
- Never use retardations in the bass. Though possibly correct musically, they are invariably ineffective.