sus chords supplement · 2019. 5. 8. · 2 application of basic sus voicing to ‘over the...
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![Page 1: Sus Chords Supplement · 2019. 5. 8. · 2 Application of Basic Sus Voicing to ‘Over The Rainbow’ • When you come across a Sus chord in a lead sheet, play the root of the chord](https://reader033.vdocuments.mx/reader033/viewer/2022052503/60a596316e6457147f03811c/html5/thumbnails/1.jpg)
SusVoicingsLessonSupplementwww.pianogroove.com
SusChordsIntroduction• ‘Sus’isshorthandfor‘suspended’anditreferstothe4thwhichissaidtobe
‘suspended’inthechord.• Thesimplestwaytodemonstratethisistoplayamajortriadandraisethe3rd
tothe4th.VoicingSusChordswith2Hands• Theeasiestwaytovoiceasuschordover2handsistoplaytherootinyour
lefthandandplayamajortriadbuiltfromtheb7.Youcouldalsolookatthisasamajortriadawholestepbelowtheroot:
• ThisgivesyouR,7,9,11,whichisaC9suschordasthe9thisthehighest
extensioninthechord.• Wecanplaythetriadinanyofits3inversions.Justlikeupperstructure
triads,thetriadontopwillsoundstrongestinitssecondinversion.Wecanalsoaddnotesinourlefthandanddoublenotesinourrighthandtogetabiggervoicing:
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ApplicationofBasicSusVoicingto‘OverTheRainbow’• WhenyoucomeacrossaSuschordinaleadsheet,playtherootofthechord
andthenamajortriadofftheb7andyoushouldbeabletofindaninversionofthetriadthatfitsthemelody.Trythisinbar3of‘OverTheRainbow’:
• ThechordsymbolisBb9sussotheformulaisamajortriadawholestepbelowtheroot.ThisisanAbmajortriadoverBbinthebass.A2ndinversionAbmajortriadwillyieldContopofthevoicingtokeepthemelodyintact.
• Alsoaddthe5thandb7intheleftforabiggersoundasinpreviousexamples.ExtendingUpwardstoCreatea13susChord.• Wecanextendthetriadinourrighthandintoamajor7thchordtoachievea
brighter,morecolourfulvoicingcontainingtheR,b7,9,11and13.
• Tocreatea13suschord,webuildamajor7thchordawholestepbelowtherootorofftheb7.thiswouldbeanFmaj7.Thereare4inversionsofthemajor7thchordontopwithgivesyouthedifferentvoicingoptionsabove.
• Suschordsarealsoveryusefulwhentherootisinthemelodyforadominantchord.Toplaytherootinthemelodyweextendthe13suschordupanother3rd.PlaytheRootandb7inyourlefthandandthenaminor7thchordoffthe9.Seethefollowing3examplesforG13sus,C13sus&F13sus:
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• TheseriesofchromaticallydescendingdominantchordsinthelastfourbarsofthebridgeofRoundMidnightareagoodexampletodemonstratesus13chordswiththerootinthemelody.
SusChordsinContextofa251Progression• Lookingatthe251progressionsbelow,wecanseethatinthesecond
example,whenwemovetoG13sus,wekeepthe3rd,5thand7thand9thofthe2chord(D-7)andallthatwedoischangethebasstoG.
• Thisillustratesaninterestingwaytolookatsuschords.Asuschordisineffect,ahalfwaypointbetweenthe2and5chord.Thesuschordhassomeofthetensionandsenseofmovementasthe5chordbutnotasdissonantduetotheabsenceofthetritone.
• Thisnowbringsusontoresolvingthesuspension.Inany251progression,wecanplayasuschordafterthe2chordandthenresolvethesuspensiontomovetothe5chord.Seeexampleontherightabove.
• Wecanalsoaddalterationstothe5chordeg.D-7–G13sus–G7b9–Cmaj13.
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• Nowlet’saddtwoalterationsbyplayingD-7–G13sus–G7b9#5–Cmaj13.
• AnothervariationwouldbeD-7–G13sus–G7#9#5–Cmaj13.
• Usingourknowledgeoftritones,wecanalsosubstitutethe5chord.G&Db
areatritoneapartsowecanplayaDb13#11aftertheG13susandthenresolvedowntothe1chord.
• Transposetheabovechordsintoafewdifferentkeys.Firsttry251sinF&Gandthenmoveonto‘blackkeys’suchasEb-andAb-
• Saythechordsaloudwhenyouplaythemtodevelopamentalassociation
withtheshape,lookandfeelofthesesuspendedvoicings.