So the next time you see a sus chord, know that someone decided to transform a major chord into something more interesting. Try to find these special chords in songs you learn every day, or get back to basics by learning how to play a song using sus chords on Fender Play. And if you're not a member of Fender Play yet, click here for a free trial.
Skip to main content. By Nick Stoubis. So why sus? In more modern jazz hat tip to Mr. Herbie Hancock the sus-chords stand alone as their own sound, rather than as a substitution or point in a cadence. Check out a recording of Maiden Voyage to hear these sus-chords in action. There are a few typical ways to voice sus-chords at the piano. We'll start with classical triads, and then move into more sophisticated jazz voicings.
You may not encounter this exact phrase in Bach chorales, or Beethoven sonatas, but you will find very similar phrases. When I first learned my jazz sus-chords, I learned them as a slash chord. I've seen this taught two different ways, but they are so similar I think of them as practically the same. You can take this a small step further by changing the left hand to be a dominant 7th chord I usually use a shell voicing instead of just the root note.
This creates a more full version of the slash chord as a polychord. In the original classical sense, suspended chords would replace the 3rd with the 4th, this sets up the resolution, where the 3 comes back replacing the 4. There are many examples of jazz musicians voicing suspended chords with the 3 included.
Notice how in this example the 3rd B is voiced higher than the 4th C. The voicing is more consonant this way. There are a number of approaches we can take to improvise over a sus-chord. Arpeggios and scales both work great. Thanks for brining that up, Eyal. I consider any voicing of a G9 a voicing of G7 as well—just that the descriptor G9 is more specific than G7. I mean that in the practical sense that any pianist who played a plain G7 without 9s, 11s or 13s every time they saw G7 written on a chart would be fired right away.
Hi there great article Could you please explain a chord such as G sus 2 4 How does that work functionally? Best Martin. It sounds like it would be the same as a G9Sus4 aka G9sus chord, which is functionally the same as all the G7sus chords I discuss here.
I have playing since Louis was in the kiddy lock up and I like the way you explain things. I have had people try many times and it just didnt sink in. Hey friend. I wrote a whole post about that here , Jayath. Check it out. Love the definition of the susb9 as the darker version of a sus chord. Phrygian is a minor scale. But strictly speaking a Phrygian chord should have a minor third in it, whereas suspended chords should have a major third if any at all. I hope that makes sense.
Glad you enjoyed the post! I thoroughly appreciate your sharing. I read a lot and study words. So it was easy for me to receive what you are giving and imparting.
The abstract, you made simple. The abstract is the essence, where it all lies. I made a quantum leap with the info. It enhanced my perspective and approach.
Information changes perception. Suddenly — in the blink of an eye, I receive your unselfish gift with understanding. Been playing guitar since I was However, you took me somewhere else. I am grateful. Keep up the great work. O what a joy and rejoicing! I had my own breakthrough of sorts long ago, when I tried to stop thinking about ii-V as two discrete things but as a wave or continuum, moving from placid, through turbulence, and ultimately resolving.
Of course, what constitutes resolution has changed over time — I trace this to the moment when a dominant chord could be perceived as a I chord. Using the tension and release metric we will tend to perceive areas of lesser tension as static, even if closer examination of the static areas does not conform to classical western harmony. I like the wave image — it makes me think of how ii-Vs… or lines played over them… can double back on themselves, going from ii to V back to ii again then forward, advancing and receding like waves on the shore.
And great point about the tonicization of the dominant sound as the predecessor to that of the sus chord. BTW, did you see the sequel to this post? I talk about static versus dynamic uses…. Click here to cancel reply. Would you like to be notified about future comments? Or just replies to your comment?
0コメント