![]() Sus chords have a very open sound and as a result, create a wide variety of harmonic possibilities for the improviser. In all three cases, you can use the same harmonic material, which you are already familiar with, for improvisation: Over this one sound you can think in three different modalities:Ī D7 sus chord (D7 dominant) has the same sound as a C/D chord (C major #11) and also as an A-7/D (A minor), the difference only lies in the naming of the chord and how you are approaching it mentally. You can actually use a lot of the same language that you would play over dominant, major or minor sounds. One thing to remember is that a sus chord is not a new type of chord on which you must find an entirely new vocabulary to use.Ī V7 sus chord, is basically a V7 chord without the third in the voicing, but the third is still a part of that tonality. Shown below, are two examples of an F7 sus chord voicing that includes the 3rd of the chord above the 4th: Just because the fourth of the chord is included in the voicing of a sus chord, does not mean that the third is an avoid note or even a “wrong note.” In reality, many pianists and guitarists even include the third of the chord in their V7 sus voicings. Is it a normal dominant chord? What’s special about it? Do you need a new scale? Are you allowed to play the third of the chord?Īfter studying and transcribing solos of some of my favorite players over tunes that include sus chords, I have come to realize that sus chords actually have a great number of harmonic possibilities, rather than a chord type that restricts what you can play.Ī huge misconception about sus chords is the mentality of avoiding the 3rd of the chord. Sus chords on tunes like Herbie Hancock’s Maiden Voyage can be pretty confusing for the developing improviser.
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