Commonly referred to as “Sus” chords, these unique sounding chords have enriched compositions of every music genre for as long as music has been around. Though most musicians tie the words Sus and 4th together, its more clear to think of Sus chords as the 3rd is suspended – in other words, the major 3rd is not found in the chord – it has been placed on “suspension” – usually temporarily. The resolution of suspended chords is audibly evident when the 3rd ceases to be suspended, and returns home like a prodigal son.
There are three types of Suspended (Sus) chords:
Sus 4
Sus 2
7th Sus 4
The one thing all these chords have in common: no major 3rd interval is present. While the Sus 4 and 7th Sus 4 replace the 3rd with the 4th, the Sus 2 does not. Instead, Sus 2 chords replace the 3rd with a 2:
1 4 5 7
Gsus = G C D
2.5 1 = structure for Sus chord
G2sus = G A D
1 2.5 = structure for G2 sus chord
G7sus = G C D F
2.5 1 1.5 = structure for 7thsus chord
Some observations:
- Comparing the structures of Sus to 2 Sus, they are opposites – that is while the 4th interval (2 1/2 steps) appears in the beginning of a Sus 4 chord, it appears at the end of a 2 Sus chord.
- 7th Sus 4 chords add a mi3 interval at the end – otherwise it is identical to a basic Sus chord.
- None of these chords contain a ma3 interval – it is suspended!
- It is common to refer to Sus 4 as simply Sus – they are one in the same, and either designation is acceptable.
Eleventh chords – distant cousins to Sus chords
Remembering how 9ths and 2nds are the same, only difference being that 9th chords have the presence of the 7th? Well, applying that same diatonic subtraction we discover that 11 minus 7 = 4. Yes, 11th and 4th are the same note – check it out:
1 2 3 4 5 6 7 8 9 10 11
A B C D E F G A B C D
What I call “Diatonic Subtraction”, that is subtracting the number of notes in a diatonic scale (7) is something you need to become intimately familiar with – as it acts like a guide for determining the names of extended chords.
Applied here, we determine 7th chords that contain the 4th interval, are in fact not suspended chords, but rather 11th chords.
There are two primary types of 11th chords:
11th (dominant)
mi11 (minor eleventh)
1 3 5 7 9 11
G11 = G B D F A C
2 1.5 1.5 2 1.5 = structure for dominant 11th
Gmi11 = G Bb D F A C
1.5 2 1.5 2 1.5 = structure for minor 11th
In practice, the 3rd is eliminated from dominant 11th chords to avoid the dissonant mi2 sound. Further, it is common to eliminate the 5th from minor 11th chords. Lastly, the 9th is optional, and also commonly eliminated as well.
That said, here are more common structures of these same chords as performed on guitar:
1 3 5 7 9 11
G11 = G D F C
Gmi11 = G Bb F C
A measure of resolve
I would be remiss ending a discussion of suspended type chords without examining what happens when these chords resolve. Understand, it is not necessary for them to resolve – but in many cases they act as a set up for the next subsequent resolved chord.
Normally, resolving suspended chords is simply a matter of lowering the suspended note down a half-step. In doing so, the suspended 4th note becomes a major 3rd. Here are some examples:
Gsus = G C D suspended
G = G B D resolved
G7sus = G C D F suspended
G7 = G B D F resolved
In Summary
Suspended, Sus, 4th, and 11th chords are all in the same family of chords. The focus is on the big open sound of the 4th (or 11th) interval and how it interacts with other notes in the chord. Since the major 3rd interval is absent from these chords, there is a pull towards resolving the 4th back down one half step to the major 3rd. However, many chords in this family of chords stand on their own, with or without resolving.
I really enjoy the huge shimmering sound of these chords, frequently incorporating them – particularly when performing jazz compositions. In a subsequent post, I’ll be sharing my favorite guitar chord fingerings for all of these chords. Meanwhile, treat your ears and heart as you explore the amazing sound of Sus chords. Until next time, I remain,
Musically yours,
Al Dinardi
by Lisa
03 Dec 2015 at 14:34
Thankyou!! Great explanations easy to understand, very appreciated 🙂
Piano Teacher
by Al Dinardi
22 Apr 2015 at 10:02
In the key of F, the dominant chord (5th) is a C7. C7 = C E G Bb. Playing from the root is called root position. Playing C7 from the E (3rd) is call first inversion. So, you are playing C7 (the dominant chord in the key of F) in its first inversion. The root note C got moved to the top. As explained in another post, the 5th note (G) of a chord only helps define pitch, not tonality. Remember, roots and 5ths define pitch, 3rds and 7ths define quality (type of tonality). Exception would be altered 5ths. Only difference between a minor and major triad is the third – both share the same root and 5th. It is changing the 3rd that completely changes the sound of the chord. I hope this makes sense. Write back anytime.
by Al Dinardi
07 Dec 2013 at 16:42
Sorry for the belated reply. Thanks for the nice comments. I plan on kicking things up again with more intermediate to advanced theory – now that everyone has had a chance to digest the basics.
Al
by Al Dinardi
07 Dec 2013 at 16:29
E Bb C could be a number of chords, depending on the context of the chords preceding and following. For example, it could be a C7/E without the 5th (fairly common to drop the 5th).
The way I see chords in a musical sense: roots and 5ths supply pitch information, while 3rds, 7ths, and altered notes provide tonality (chord type and sound). So, in the example above, the E and Bb would be all the tonality needed to sound like a C7 chord.
If you listen to Cmaj7, Cmi7, and C7 – you get 3 distinctly different sounding chords – yet all three contain the same root and 5th (C and G). It is the 3rds and 7ths that create the difference in sound, or tonality if you will.
Again, I would need more information to fully answer your question as to what chord E Bb C are functioning as.
by LeeH
19 Oct 2013 at 16:08
Am I on the right track if I think this idea of a Sus chord is (often?) the explanation of why some songs use chords with adjacent notes? I understand the every-other-note principle—it’s harmonious. But adjacent ones are jarring. For example, I have a piano arrangement of “Ben” (“Ben, the two of us need look no more…”), in the key of F, where “look” corresponds to a chord (is it?) consisting of E Bb C. The E (left hand) is the second E below middle C. The Bb is 1 step down from Middle C, so I call these two adjacent. What inversion of what chord is this?
by John Leo
11 Sep 2013 at 19:48
Hey Al – thanks so much for spending the time to share your insights. I have been playing for about 45 years, mostly by ear, but have attempted to “figure things out” on my own over that time without ever taking any lessons. You have a nice way of laying things out and making them clear and simple, especially for someone like me. Confusion over things like “why does a 9th chord include a dominant 7th note” are explained and resolved and it helps a lot. Very cool site and I am glad I happened onto it.