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SWAMP THANG
2013 MAR 10
UNDERSTANDING
SUS CHORDS
BY ANTON SCHWARTZ
Most of us know the definition of a sus chord: it is a dominant
chord whose major third is replaced by the perfect fourth a half
step higher.
But I encounter lots of musicians who know this definition and
cant seem to make heads or tails of it in practice. Perhaps this
post will shed some helpful light.
Look at a very simple ii-V-I cadence in the key of C:
(Note that the G7 voicing here is in fact a G9. For those of you
new to jazz, its a common practice to add upper chord tones to
voicings, and to omit the fifth, for the sake of voice leading and
overall sound.)
Listening to the chords, the sound of the D7 conveys a stable,
consonant soothing sound, whereas the G 7 conveys more of a
voyage underwaya tension that will likely resolve to the C
before long.
The transition between the D7 and the G7 amounts to exactly
two things: (1) the root moves and (2) the seventh of
the D7 resolves down a half step to the third of the G 7:
We can divide this transition into a two step process, where first
the root movement occurs, then the half step resolution:
Listen:
Dm7 to G7sus to G7
Triad Pairs
F and G triads F and G traids
(see Weiskopf or
(built on minor 3 & fourth) (built on minor 7 & root)
Campbell books.)
Observe also that the chord tones of D11 (1, 3, 5, 7, 9, 11) are in
fact the 5, 7, 9, 4, 13 and root of G 13sus, respectively. Not only
do the proper scales coincide between D7 and G7sus but, in
fact, the important notes do as wellso if you emphasize the
chord tones of aD7, the results sound great over G 7sus.
Accordingly, any bebop line you might play that targets chord
tones of D7 (or D9 or D11) will sound great over G7sus (or
G9sus or G13sus). For example:
Listen:
Posted in:
Jazz Music
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2.
sunfly says:
August 15, 2013 at 5:34 am
Great lesson thanks for your time and effort.Have a good
day.Sunfly
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3.
Andrew says:
October 10, 2013 at 10:45 am
This was excellent theory, exactly what I was looking for today.
cheers.
A.
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4.
Richard says:
December 25, 2013 at 11:31 am
Im probably missing something basic, but the chord you are
calling a G7 in the first example looks more like a G9?
Regardless, not a G7.
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hmm says:
January 9, 2014 at 1:07 pm
I wouldnt say its also a G9, it is a G9! Which is a
type of G7 chord, sure, but still. Small point really
and its a good article but I reckon it might confuse
some people, better to specify exactly what chord
youre showing especially considering that you do
utilize the presence of the 9 later on when you
flatten it.
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Chris says:
December 31, 2015 at 9:00 am
This also seemed confusing to me at first,
that is until I did some more research and
determined that in Jazz the 9th is usually
added to suspended chords (1 4 5 7 9) .
This has something to do with sus 4 and
sus 2 chords being inversions of each
other. I am still confused about the
omission of the 5th in the voicing used
but this at least accounts for the use of
the 9th being assumed in the G7 chord.
This would be obvious to someone who is
fluent in, and used to paying jazz but not
to an amateur like myself or others who
Im sure clicked on this article having little
to no idea what a sus chord was.
5.
Todd Li says:
March 5, 2014 at 5:38 am
Anton, this was the first time I have seen such a clear
explanation of sus chords, which I have long been puzzled by.
Thank you.
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6.
Philippe says:
November 11, 2014 at 10:28 am
Anton,
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7.
Kris says:
January 17, 2015 at 7:45 pm
Finally a clear explanation, been looking for one on the theory
behind it all and couldnt for the life of me find any, couldnt find
any voicings either. Found information on using them as subs but
this very clearly explains how and why they work as a sub for the
ii or the ii V , this is how more theory SHOULD be taught instead
of learn this in all 12 keys and use it here. Very much
appreciated
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8.
Noelia says:
February 18, 2015 at 10:29 pm
Thanks for this lesson! Very clear and useful :)
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9.
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10.
Danno says:
May 13, 2015 at 7:23 am
Anton. Many thanks for this post. Im spending time each day
playing through and analyzing some tunes in my fake book and I
come across a 13 sus chord. (Bob mintzers change of mind at
letter B). If its an A13sus isnt the 11th acting as a sus already?
Why does he specify sus?
Thanks again!
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12.
Eyal says:
September 19, 2015 at 10:15 am
As far as I know, the A note shouldnt carry over from Dm7 to G7,
unless its not a G7 but a G9.
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13.
Mel Murphy says:
March 6, 2016 at 6:35 am
Thanks for the info
Reply
14.
Martin says:
April 3, 2016 at 1:36 am
Hi there great article
Could you please explain a chord such as
G sus 2 4
How does that work functionally ?
Best
Martin
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15.
dalem says:
May 17, 2016 at 11:19 pm
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.
thx man
Reply
16.
jayath says:
July 18, 2016 at 12:50 am
Hey friend.
i like the way you use for explore your knowledge.
i want to know how to identify relative sustain chords for each
scale.
exg A major scale relative sus?
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17.
jayath says:
July 21, 2016 at 1:47 am
i want to know how to use suspended chords in the right way in a
song.
it means when i playing a song in which type of condition do we
use suspended chords.
Reply
18.
Simon says:
February 16, 2017 at 2:37 pm
Thank you. Thats a much clearer definition of sus chords than in
Mark Levines brilliant The Jazz Piano Book.
Love the definition of the susb9 as the darker version of a sus
chord. Am I right in thinking thats also called a Phrygian chord?
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