More Jazz theory - sus chords

Sus Chords

A simple way to play sus chords (aka Sustained or Suspended chords) is to play the root with the left hand, whilst playing a major triad built on the 7th in the right hand.

Key:
∆ = Major7
о = Diminished
ų = Half Diminished/ min7b5 (or -7b5)

A G-sus chord moves smoothly to a C∆ chord.

The suspended part of the chord is the 4th (C). Traditionally, this moves down a half-step (semi-tone) to the 3rd, turning the chord into a dominant 7th. However, in modern music, the 4th is often left suspended, giving an open, unresolved sound.

There are a few different ways of notating suspended chords:

- G7sus4
- Gsus4
- F/G
- D-7/G

The sus chord can be used as a substitution for the II and the V chords in a II-V-I progression. The notation D-7/G illustrates this function. D-7 is the II chord in the key of C and G is the root of the V chord. (D-7/G or F/G are known as slash chords).

The left part of the symbol indicates a chord and the right part indicates the bass note.

A famous example of the utility of these chords is in Herbie Hancock's Maiden Voyage, recorded on March 17, 1965. It featured Freddie Hubbard on trumpet, George Coleman on tenor sax, Ron Carter on bass and Tony Williams on drums. It broke new ground because it was composed entirely of suspended chords, giving an atmosphere of mystery and tension.

Phrygian Chords

The Phyrigian scale (the 3rd mode of the major scale) is an exotic and dark sounding scale, which can be played over a susb9 (phrygian) chord. For example, an E phryg. chord (Esusb9) takes its notes from the C major scale.

This chord functions well as a V chord and resolves smoothly to A∆. The phryg. chord can also be used as a substitution for the II and V chords in a II-V-I progression. For example, in the first few bars of Eden Ahbez's Nature Boy:

or the first bars of Victor Young's Stella by Starlight

The phryg. mode can also have a very Spanish sound. If you play a Bb triad, (Bb, D, F) over an A in the bass, (a chord built on the A phryg. scale) and then resolve it to an A major triad, you will have a typical Spanish cadence.

Olé!

There is another sus chord for which there is not a standard chord symbol, which comes from the second mode of the melodic minor scale. (See minor scale harmony)

Unfortunately, this chord is often notated as a susb9, the same as the phrygian chord, which can lead to confusion. A more accurate notation would probably be Dų/G or Fm∆/G.

If you compare the second mode of the F melodic minor scale to the G Phrygian scale, you will see that there is only one different note. The Phrygian scale has an Eb or b13, which would usually be played sparingly, as a passing note (this would probably explain why the two chords often share the same symbol).

Sus Chords

Phrygian Chords

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