Piano Guidance
Piano Guidance
Photo: Juan Pablo Serrano Arenas
A suspended chord (or sus chord) is a musical chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second. The lack of a minor or a major third in the chord creates an open sound, while the dissonance between the fourth and fifth or second and root creates tension.
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Read More »A suspended chord (or sus chord) is a musical chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second.[1] The lack of a minor or a major third in the chord creates an open sound, while the dissonance between the fourth and fifth or second and root creates tension. When using popular-music symbols, they are indicated by the symbols "sus4" and "sus2".[2] For example, the suspended fourth and second chords built on C (C–E–G), written as Csus4 and Csus2, have pitches C–F–G and C–D–G, respectively. Audio playback is not supported in your browser. You can download the audio file Suspended fourth and second chords can be represented by the integer notation {0, 5, 7} and {0, 2, 7}, respectively.
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Read More »Compared to the otherwise similar dominant eleventh chord, the dominant 9sus4 chord generally doesn't include the third factor. It may be thought of as a slash chord: G9sus4 without the 5th (G–C–F–A) is equivalent to F/G (G–F–A–C).[4][5] It may also be written Dm7/G, which shows the merging of ii7 and V7 functions in one chord.[4][6] Although the suspended fourth is not always resolved down to a third, the note is still not usually notated as an eleventh because of the chord's function as a cadence point to the tonic. It is also possible to have the third included in a sus chord, the third being generally voiced above the fourth (i.e. as a tenth) though this is not absolutely necessary. For example, a G9sus4 chord played on a piano could have its root note played with the left hand, and the notes (from the bottom up) C (suspended 4th), F, A, and B (the third) with the right hand.[7] Red Garland's piano introduction to "Bye Bye Blackbird" on the Miles Davis album 'Round About Midnight features suspended 9th chords.[8] In his book Thinking in Jazz, Paul Berliner writes at length and in detail about how the improvisation unfolds from this opening.[9] With the advent of modal jazz in the 1960s, suspended chords were to feature with increasing regularity. For example, they dominate the structure of Herbie Hancock's 1965 composition "Maiden Voyage". In his book, What to Listen For in Jazz, Barry Kernfeld cites Hancock's own explanation of how the harmony works: "You start with a 7th chord with the 11th on the bottom—a 7th chord with a suspended 4th—and then that chord moves up a minor third. ... It doesn't have any cadences; it just keeps moving around in a circle."[10] Kernfeld comments: "Thus in addition to a slow-paced harmonic rhythm, this composition features chords that individually and collectively avoid a strong sense of tonal function." Kernfeld admires the way that "Hancock's cleverly ambiguous chords intentionally obscure the identity" of a particular key.[10] Roger Scruton sees the jazz sus chord in "Maiden Voyage" as opening "a completely new harmonic perspective... as we come to understand sus chords on the tonic as supporting improvisations on the dominant."[11]
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