Suspended chord: Difference between revisions

suspended second chord
Component intervals from root
	perfect fifth
	major second
	root
Tuning
	8:9:12
Forte no. / Complement
	3-9 / 9-9

suspended fourth chord
Component intervals from root
	perfect fifth
	perfect fourth
	root
Tuning
	6:8:9
Forte no. / Complement
	3-9 / 9-9

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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 C^sus4 and C^sus2, have pitches C–F-G and C–D-G, respectively.

${ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 \key c \major <c f g>1 <c d g>1 } }$

Suspended fourth and second chords can be represented by the integer notation {0, 5, 7} and {0, 2, 7}, respectively.

Analysis

The term is borrowed from the contrapuntal technique of suspension, where a note from a previous chord is carried over to the next chord, and then resolved down to the third or tonic, suspending a note from the previous chord. However, in modern usage the term concerns only the notes played at a given time – the suspended tone does not necessarily resolve and is not necessarily "prepared" (i.e., held over) from the prior chord. As such, after C^sus4 (C–F–G), F may resolve to E (or E♭, in the case of C minor), but in rock and popular music the term indicates only the harmonic structure with no implications about what comes before or after, though preparation of the fourth still occurs about half the time and traditional resolution of the fourth occurs usually.^[3] In modern jazz, a third can be added to the chord voicing, as long as it is above the fourth.^[4]^{[failed verification]}

Each suspended chord has two inversions. Suspended second chords are inversions of suspended fourth chords, and vice versa. For example, G^sus2 (G–A–D) is the first inversion of D^sus4 (D–G–A) which is the second inversion of G^sus2 (G–A–D). The sus2 and sus4 chords both have inversions that create quartal and quintal chords (A–D–G, G–D–A) with two stacked perfect fourths or perfect fifths.

Sevenths on suspended chords are "virtually always minor sevenths" (7sus4), while the 9sus4 chord is similar to an eleventh chord and may be notated as such.^[3] For example, C^9sus4 (C–F–G–B♭–D) may be notated C¹¹ (C–G–B♭–D–F).

Jazz sus chord

A jazz sus chord^[4] or 9sus4 chord is a dominant ninth chord with a suspended fourth, typically appearing on the dominant 5th degree of a major key. Functionally, it can be written as V^9sus4. For example, the jazz sus chord built on G, written as G^9sus4 has pitches G–C–D–F-A.

${ \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 \key c \major <g c d f a>1 } }$

${ \override Score.TimeSignature #'stencil = ##f \new PianoStaff << \new Staff << \relative c' { \clef treble \key c \major \time 4/4 <a c f>2 <g b e> } >> \new Staff << \relative c' { \clef bass \key c \major \time 4/4 g_\markup { \translate #'(-2 . 0) { \concat { "Gsus" \hspace #1 "CM" \raise #1 \small "7" } } } c, } >> >> }$

A close-voicing dominant ninth chord with suspended fourth (written as just "Gsus"), followed by the tonic major seventh chord.^[4]

Compared to the otherwise similar dominant eleventh chord, the dominant 9sus4 chord generally does not include the third factor. It may be thought of as a slash chord: G^9sus4 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 G^9sus4 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]

Examples in popular music

Suspended chords are commonly found in folk music and popular music. Ian MacDonald writes of the "heartbreaking suspensions" that characterise the harmony of "The Long and Winding Road" from the Beatles' final album Let It Be (1970).^[12] MacDonald describes another Beatles song "Yes It Is" as having "rich and unusual harmonic motion" through its use of suspensions.^[13] Joni Mitchell was perhaps one of the most prolific songwriters to make extensive use of multiple sus chords, explaining that "so much in my life was unresolved from 'when were they going to drop the big one?' to 'where is my daughter?' that I had to use unresolved chords to convey my unresolved questions".^[14]

The instrumental opening to The Four Tops’ song "Reach Out I'll Be There" (1966) features an E chord containing a suspended fourth, resolved immediately by being followed by an E minor chord. ^[15] Burt Bacharach's "The Look of Love" in the arrangement performed by Dusty Springfield (1967) opens with a clearly audible Dm7 suspension.^[16] Carole King's song "I Feel the Earth Move" from her album Tapestry (1971) features a striking B♭^9sus4 chord at the end of the phrase "mellow as the month of May".^[17] The last chord of the first bridge of The Police's "Every Breath You Take" is an unresolved suspended chord,^[3] the introduction and chorus of Shocking Blue's "Venus" each contain an unresolved suspended chord,^[3] and the introduction of Chicago's "Make Me Smile" has two different suspended chords without traditional resolution. The verses of Oasis’s Champagne Supernova (1996) is entirely based on an Asus2 chord. ^[3]

Examples in classical music

Examples of suspended chords can be found in the pieces below (usually in connection with pedal points).

The piano postlude to the song "Ich grolle nicht" from Robert Schumann's 1844 song cycle Dichterliebe.

Schumann, "Ich grolle nicht" concluding bars

The concluding bars of the Prelude to Wagner's final opera Parsifal (1882):

Wagner, Parsifal prelude concluding bars

The first movement of Anton Bruckner's Symphony No. 7:

Bruckner Symphony No. 7, first movement bars 103–109

References

^ Ellis, Andy (October 2006). "EZ Street: Sus-Chord Mojo". Guitar Player.
^ Benward & Saker (2003), p. 77.^{[incomplete short citation]}
^ ^a ^b ^c ^d ^e Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis. Yale University Press. p. 88. ISBN 978-0-300-09239-4.
^ ^a ^b ^c ^d ^e Humphries, Carl (2002). The Piano Handbook. Hal Leonard Corporation. p. 129. ISBN 0-87930-727-7.
^ Buckingham, Bruce; Paschal, Eric (1997). Rhythm Guitar: The Complete Guide. Hal Leonard Corporation. p. 64. ISBN 978-0-7935-8184-9. "(A^9sus4 = G/A)."
^ Levine 1989, p. 23: "Dm⁷/G describes the function of the sus chord, because a sus chord is like a ii–V progression contained in one chord. The ii–V progression in the key of C is Dm⁷, G⁷."
^ Levine 1989, p. 24: "A persistent myth about sus chords is that 'the fourth takes the place of the third.'"
^ Sher, Chuck. (1991, p. 35). The New Real Book, Volume 2. Petaluma, Sher Music.
^ Berliner, P. (1994, pp. 678–688), Thinking in Jazz. University of Chicago Press.
^ ^a ^b Kernfeld, B. (1995, p. 68) What to Listen For in Jazz. Yale University Press
^ Scruton, R. (2009, p. 17) Understanding Music. London and New York, Continuum.
^ MacDonald 1994, p. 341.
^ MacDonald 1994, p. 147.
^ Joni Mitchell interview, Canadian Broadcasting Corporation, 2011^{[full citation needed]}
^ Holland, Dozier and Holland (1966), Jobete Music Co. Inc
^ Bacharach, B. and David, H. (1967, p. 9) "The Look of Love" in Burt Bacharach Anthology(1989). Miami, Warner Brothers.
^ King. C. (1971, p. 4) "I feel the earth move" in Tapestry. Milwaukee, Hal Leonard

Sources

Levine, Mark (1989). The Jazz Piano Book. Sher Music. ISBN 0-9614701-5-1.
MacDonald, Ian (1994). Revolution in the Head: The Beatles' Records and the Sixties. London: Fourth Estate.

[1] Ellis, Andy (October 2006). "EZ Street: Sus-Chord Mojo". Guitar Player.

[2] Benward & Saker (2003), p. 77.^{[incomplete short citation]}

[Stephensonp88-3] Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis. Yale University Press. p. 88. ISBN 978-0-300-09239-4.

[Humphries-4] Humphries, Carl (2002). The Piano Handbook. Hal Leonard Corporation. p. 129. ISBN 0-87930-727-7.

[Buckingham-5] Buckingham, Bruce; Paschal, Eric (1997). Rhythm Guitar: The Complete Guide. Hal Leonard Corporation. p. 64. ISBN 978-0-7935-8184-9. "(A^9sus4 = G/A)."

[6] Levine 1989, p. 23: "Dm⁷/G describes the function of the sus chord, because a sus chord is like a ii–V progression contained in one chord. The ii–V progression in the key of C is Dm⁷, G⁷."

[7] Levine 1989, p. 24: "A persistent myth about sus chords is that 'the fourth takes the place of the third.'"

[8] Sher, Chuck. (1991, p. 35). The New Real Book, Volume 2. Petaluma, Sher Music.

[9] Berliner, P. (1994, pp. 678–688), Thinking in Jazz. University of Chicago Press.

[Kernfeld68-10] Kernfeld, B. (1995, p. 68) What to Listen For in Jazz. Yale University Press

[11] Scruton, R. (2009, p. 17) Understanding Music. London and New York, Continuum.

[FOOTNOTEMacDonald1994341-12] MacDonald 1994, p. 341.

[FOOTNOTEMacDonald1994147-13] MacDonald 1994, p. 147.

[14] Joni Mitchell interview, Canadian Broadcasting Corporation, 2011^{[full citation needed]}

[15] Holland, Dozier and Holland (1966), Jobete Music Co. Inc

[16] Bacharach, B. and David, H. (1967, p. 9) "The Look of Love" in Burt Bacharach Anthology(1989). Miami, Warner Brothers.

[17] King. C. (1971, p. 4) "I feel the earth move" in Tapestry. Milwaukee, Hal Leonard

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@@ Line 1: / Line 1: @@
+{{Short description|Musical chord in which the (major or minor) third is omitted}}
 {{Infobox chord|
 chord_name=suspended fourth chord|
@@ Line 16: / Line 17: @@
 forte_number=3-9|
 complement=9-9
-}}A '''suspended chord''' (or '''sus chord''') is a musical [[chord (music)|chord]] in which the ([[major third|major]] or [[minor third|minor]]) third is omitted, replaced usually with either a [[perfect fourth]] or a [[major second]]<ref>{{cite journal |first1=Andy |last1=Ellis |title=EZ Street: Sus-Chord Mojo |journal=Guitar Player |date=October 2006}}</ref> although the fourth is far more common. The lack of a minor or a major third in the chord creates an [[voicing (music)|open sound]], while the [[Consonance and dissonance|dissonance]] between the fourth and fifth or second and root creates tension. When using [[Chord names and symbols (popular music)|popular-music symbols]], they are indicated by the symbols "sus4" and "sus2".<ref>Benward & Saker (2003), p.77.</ref> For example, the suspended fourth and second chords built on C (C–E–G), written as C<sup>sus4</sup> and C<sup>sus2</sup>, have pitches C–F–G and C–D–G, respectively.<blockquote><score vorbis="1" lang="lilypond">
+}}A '''suspended chord''' (or '''sus chord''') is a musical [[chord (music)|chord]] in which the ([[major third|major]] or [[minor third|minor]]) third is omitted and replaced with a [[perfect fourth]] or a [[major second]].<ref>{{cite journal |first1=Andy |last1=Ellis |title=EZ Street: Sus-Chord Mojo |journal=Guitar Player |date=October 2006}}</ref> The lack of a minor or a major third in the chord creates an [[voicing (music)|open sound]], while the [[Consonance and dissonance|dissonance]] between the fourth and fifth or second and root creates tension. When using [[Chord names and symbols (popular music)|popular-music symbols]], they are indicated by the symbols "sus4" and "sus2".<ref>Benward & Saker (2003), p. 77.{{incomplete short citation|date=October 2021}}</ref> For example, the suspended fourth and second chords built on C (C–E–G), written as C<sup>sus4</sup> and C<sup>sus2</sup>, have pitches C–F-G and C–D-G, respectively.<blockquote><score sound="1">
 {
 \override Score.TimeSignature #'stencil = ##f
 \relative c' {
    \clef treble
    \time 4/4
    \key c \major
    <c f g>1 <c d g>1
 } }
 </score></blockquote>Suspended fourth and second chords can be represented by the [[Pitch class#Integer notation|integer notation]] {0,&nbsp;5,&nbsp;7} and {0,&nbsp;2,&nbsp;7}, respectively.
 ==Analysis==
-The term is borrowed from the [[counterpoint|contrapuntal]] technique of ''[[Nonchord tone#Suspension|suspension]]'', where a note from a previous chord is carried over to the next chord, and then [[resolution (music)|resolved]] down to the third or tonic, ''suspending'' a note from the previous chord. However, in modern usage, the term concerns only the notes played at a given time; in a suspended chord, the added tone does not necessarily resolve and is not necessarily "prepared" (i.e., held over) from the prior chord. As such, in C–F–G, F would resolve to E (or E{{music|b}}, in the case of C minor), but in [[rock music|rock]] and [[popular music]], "the term is used to indicate only the harmonic structure, with no implications about what comes before or after," though preparation of the fourth occurs about half the time and traditional resolution of the fourth occurs usually.<ref name="Stephensonp88">{{cite book |last=Stephenson |first=Ken |year=2002 |title=What to Listen for in Rock: A Stylistic Analysis |page=[https://archive.org/details/whattolistenfori0000step/page/88 88] |isbn=978-0-300-09239-4 |url=https://archive.org/details/whattolistenfori0000step/page/88 }}</ref> In modern jazz, a third can be added to the chord voicing, as long as it is above the fourth.<ref name="Humphries" />{{failed verification|date=January 2016}}
+The term is borrowed from the [[counterpoint|contrapuntal]] technique of ''[[Nonchord tone#Suspension|suspension]]'', where a note from a previous chord is carried over to the next chord, and then [[resolution (music)|resolved]] down to the third or tonic, ''suspending'' a note from the previous chord. However, in modern usage the term concerns only the notes played at a given time – the suspended tone does not necessarily resolve and is not necessarily "prepared" (i.e., held over) from the prior chord. As such, after C<sup>sus4</sup> (C–F–G), F may resolve to E (or E{{music|b}}, in the case of C minor), but in [[rock music|rock]] and [[popular music]] the term indicates only the harmonic structure with no implications about what comes before or after, though preparation of the fourth still occurs about half the time and traditional resolution of the fourth occurs usually.<ref name="Stephensonp88">{{cite book |last=Stephenson |first=Ken |year=2002 |title=What to Listen for in Rock: A Stylistic Analysis |page=[https://archive.org/details/whattolistenfori0000step/page/88 88] |publisher=Yale University Press |isbn=978-0-300-09239-4 |url=https://archive.org/details/whattolistenfori0000step/page/88 }}</ref> In modern jazz, a third can be added to the chord voicing, as long as it is above the fourth.<ref name="Humphries" />{{failed verification|date=January 2016}}
+[[Image:Suspended fourth chord on C in first inversion.png|thumb|right|Quintal first inversion of C<sup>sus4</sup>, where the fourth is the bass note.]]
-Each suspended chord has two [[Inverted chord|inversions]]. Suspended second chords are inversions of suspended fourth chords, and vice versa. For example, G<sup>sus2</sup> (G–A–D) is the [[first inversion]] of D<sup>sus4</sup> (D–G–A) which is the [[second inversion]] of G<sup>sus2</sup> (G–A–D). The sus2 and sus4 chords both have an inversion that creates a [[quartal chord]] (A–D–G) with two stacked [[perfect fourth]]s.
+Each suspended chord has two [[Inverted chord|inversions]]. Suspended second chords are inversions of suspended fourth chords, and vice versa. For example, G<sup>sus2</sup> (G–A–D) is the [[first inversion]] of D<sup>sus4</sup> (D–G–A) which is the [[second inversion]] of G<sup>sus2</sup> (G–A–D). The sus2 and sus4 chords both have inversions that create [[Quartal and quintal harmony|quartal and quintal chords]] (A–D–G, G–D–A) with two stacked [[perfect fourth]]s or [[perfect fifth]]s.
-Sevenths on suspended chords are "virtually always minor sevenths", while the 9sus4 chord is similar to an [[eleventh chord]] and may be notated as such.<ref name="Stephensonp88"/> For example, C<sup>9sus4</sup> (C–F–G–B{{music|b}}–D) may be notated C<sup>11</sup> (C–G–B{{music|b}}–D–F).
+Sevenths on suspended chords are "virtually always minor sevenths" (7sus4), while the 9sus4 chord is similar to an [[eleventh chord]] and may be notated as such.<ref name="Stephensonp88"/> For example, C<sup>9sus4</sup> (C–F–G–B{{music|b}}–D) may be notated C<sup>11</sup> (C–G–B{{music|b}}–D–F).
-==Jazz sus chord==
-A jazz sus chord<ref name="Humphries" /><ref name="Levine">{{cite book |last1=Levine |first1=Mark |authorlink1=Mark Levine (musician) |title=[[The Jazz Piano Book]] |publisher=Sher Music |year=1989 |isbn=0-9614701-5-1 |page=23 |quote=Dm<sup>7</sup>/G describes the ''function'' of the sus chord, because a sus chord is like a [[ii-V-I turnaround|ii–V progression]] contained in one chord. The ii–V progression in the key of C is Dm<sup>7</sup>, G<sup>7</sup>.}}</ref> or dominant 9sus4 chord is a [[seventh chord]] on the fifth [[degree (music)|scale degree]] of the [[key (music)|key]] with a suspended fourth and an added [[ninth chord|ninth]]. [[Diatonic function|Functionally]], it can be written as [[Chord names and symbols (popular music)|V<sup>9sus4</sup>]] or V<sup>7sus9</sup>. For example, the jazz sus chord built on C, written as C<sup>9sus4</sup> has pitches C–F–G–B{{music|flat}}–D.<blockquote><score vorbis="1" lang="lilypond">
+==Jazz sus chord==
+A jazz sus chord<ref name="Humphries" /> or 9sus4 chord is a [[Ninth chord|dominant ninth chord]] with a suspended fourth, typically appearing on the dominant 5th [[Degree (music)|degree]] of a major [[Key (music)|key]]. [[Diatonic function|Functionally]], it can be written as [[Chord names and symbols (popular music)|V<sup>9sus4</sup>]]. For example, the jazz sus chord built on G, written as G<sup>9sus4</sup> has pitches G–C–D–F-A.
+<blockquote><score sound="1">
 {
 \override Score.TimeSignature #'stencil = ##f
 \relative c' {
    \clef treble
    \time 4/4
    \key c \major
-   <c g' bes d f>1
+   <g c d f a>1
 } }
-</score></blockquote>{{Image frame|content=<score vorbis="1">
+</score></blockquote>
+{{Image frame|content=<score sound="1">
     {
    \override Score.TimeSignature #'stencil = ##f
@@ Line 64: / Line 67: @@
             >>
     >> }
+</score>|width=300|caption=A close-voicing [[dominant ninth chord]] with [[suspended fourth]] (written as just "Gsus"), followed by the tonic [[major seventh chord]].<ref name="Humphries">{{cite book |last=Humphries |first=Carl |year=2002 |title=The Piano Handbook |page=129 |publisher=Hal Leonard Corporation |isbn=0-87930-727-7}}</ref>}}
-</score>|width=300|caption=A [[dominant seventh chord]] with [[added tone chord|added]] fourth (which can also be written as a [[slash chord]]), followed by the tonic [[major seventh chord]].<ref name="Humphries">{{cite book |last=Humphries |first=Carl |year=2002 |title=The Piano Handbook |page=129 |isbn=0-87930-727-7}}</ref>}}Usually, the dominant 9sus4 chord has a [[perfect fourth]] rather than a [[major third]] and is called a sus4 chord rather than an [[eleventh|11th]], though it may also be thought of as a [[slash chord]] (G<sup>9sus4</sup> = F/G).<ref name="Buckingham">{{cite book |last1=Buckingham |first1=Bruce |last2=Paschal |first2=Eric |year=1997 |title=Rhythm Guitar: The Complete Guide |page=64 |isbn=978-0-7935-8184-9}} "(A<sup>9sus4</sup> = G/A)."</ref> [G<sup>9sus4</sup> = GCDFA = F/G = GFAC] It may even be written Dm<sup>7</sup>/G, which shows the merging of ii<sup>7</sup> and V<sup>7</sup>.<ref name="Humphries" /> Chord factors include 1–{{music|b}}7–9–11 or 1–4–{{music|b}}7–9, not 1–4–5 (a sus4 chord with no third).<ref>{{cite book |last=Coryell |first=Larry |year=1998 |title=Jazz Guitar |page=14 |isbn=978-0-87930-550-5}}</ref> Although the suspended fourth is not always [[resolution (music)|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.
+Compared to the otherwise similar [[Eleventh chord|dominant eleventh chord]], the dominant 9sus4 chord generally does not include the [[Third (chord)|third]] factor. It may be thought of as a [[slash chord]]: G<sup>9sus4</sup> without the 5th (G–C–F–A) is equivalent to F/G (G–F–A–C).<ref name="Humphries" /><ref name="Buckingham">{{cite book |last1=Buckingham |first1=Bruce |last2=Paschal |first2=Eric |year=1997 |title=Rhythm Guitar: The Complete Guide |page=64 |publisher=Hal Leonard Corporation |isbn=978-0-7935-8184-9}} "(A<sup>9sus4</sup> = G/A)."</ref> It may also be written Dm<sup>7</sup>/G, which shows the merging of ii<sup>7</sup> and V<sup>7</sup> functions in one chord.<ref name="Humphries" /><ref>{{harvnb|Levine|1989|page=23}}: "Dm<sup>7</sup>/G describes the ''function'' of the sus chord, because a sus chord is like a [[ii–V–I progression|ii–V progression]] contained in one chord. The ii–V progression in the key of C is Dm<sup>7</sup>, G<sup>7</sup>."</ref> Although the suspended fourth is not always [[resolution (music)|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 with 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 G<sup>7sus9</sup> chord could have its root [[Voicing (music)#Doubling|doubled]] above and below [[middle C]] (C<sub>4</sub>), using G<sub>2</sub> and G<sub>3</sub>, played with the left hand, and using the right hand (from the bottom up) middle C (suspended 4th), F, A, and B (the third).<ref>{{cite book|title=The Jazz Piano Book|last=Levine|first=Mark|isbn=0-9614701-5-1|page=24|quote=A persistent myth about sus chords is that 'the fourth takes the place of the third.'}}</ref>
+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 G<sup>9sus4</sup> 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.<ref>{{harvnb|Levine|1989|page=24}}: "A persistent myth about sus chords is that 'the fourth takes the place of the third.'"</ref>
-[[Red Garland]]'s piano introduction to "[[Bye Bye Blackbird]]" on the [[Miles Davis]] album ''[['Round About Midnight]]'' features [https://www.youtube.com/watch?v=KV2lNHfSXBQ suspended 9th chords].  (Chuck Sher has published a transcription of this passage in [[Real Book|''The New Real Book, Volume 2'']].) <ref>Sher, C (1991, p.35). ''The New Real Book, Volume 2''. Petaluma, Sher Music.</ref> In his book ''Thinking in Jazz'', [[Paul Berliner (ethnomusicologist)|Paul Berliner]] writes at length and in detail about how the improvisation unfolds from this opening.<ref>Berliner, P. (1994, p.678-688), ''Thinking in Jazz''. University of Chicago Press.</ref>
+[[Red Garland]]'s piano introduction to "[[Bye Bye Blackbird]]" on the [[Miles Davis]] album ''[['Round About Midnight]]'' features suspended 9th chords.<ref>Sher, Chuck. (1991, p. 35). ''The New Real Book, Volume 2''. Petaluma, Sher Music.</ref> In his book ''Thinking in Jazz'', [[Paul Berliner (ethnomusicologist)|Paul Berliner]] writes at length and in detail about how the improvisation unfolds from this opening.<ref>Berliner, P. (1994, pp. 678–688), ''Thinking in Jazz''. University of Chicago Press.</ref>
-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 (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."<ref>Kernfeld, B. (1995, p. 68) What to Listen For in Jazz. Yale University Press</ref>
-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.<ref>Kernfeld, B. (1995, p. 68) ''What to Listen For in Jazz.''  Yale University Press</ref> [[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."<ref> Scruton, R. (2009, p.17) ''Understanding Music''.  London and new York, Continuum. </ref>
+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 (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."<ref name=Kernfeld68>[[Barry Kernfeld|Kernfeld, B.]] (1995, p. 68) ''What to Listen For in Jazz''. Yale University Press</ref> 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.<ref name=Kernfeld68 /> [[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."<ref>[[Roger Scruton|Scruton, R.]] (2009, p. 17) ''Understanding Music''. London and New York, Continuum.</ref>
 ==Examples in popular music==
-Suspended chords are commonly found in [[folk music]] and [[popular music]]. [[Ian MacDonald]] writes of the "heartbreaking suspensions" that characterise the harmony of "[[The Long and Winding Road]]" from the [[Beatles]]' final album ''[[Let It Be (Beatles album)|Let It Be]]'' (1970).<ref>[[Ian MacDonald|MacDonald, Ian]]. (1994, p. 341) ''[[Revolution in the Head: The Beatles' Records and the Sixties]]''. London, Fourth Estate.</ref> Ian MacDonald describes another Beatles song "[[Yes It Is]]" as having "rich and unusual harmonic motion" through its use of suspensions.<ref>MacDonald. I. (1994, p. 147) ''Revolution in the Head: The Beatles' Records and the Sixties''. London, Fourth Estate.</ref> [[Joni Mitchell]] was perhaps one of the most prolific songwriter to make extensive use of multiple sus chords, explaining that “so much in my life was unresolved from ‘when were they going to drop the big one?’ to ‘where is my daughter?’ that I had to use unresolved chords to convey my unresolved questions”. <ref>Joni Mitchell Interview, Canadian Broadcasting Corporation, 2011</ref>
+Suspended chords are commonly found in [[folk music]] and [[popular music]]. [[Ian MacDonald]] writes of the "heartbreaking suspensions" that characterise the harmony of "[[The Long and Winding Road]]" from the [[Beatles]]' final album ''[[Let It Be (album)|Let It Be]]'' (1970).{{sfn|MacDonald|1994|p=341}} MacDonald describes another Beatles song "[[Yes It Is]]" as having "rich and unusual harmonic motion" through its use of suspensions.{{sfn|MacDonald|1994|p=147}} [[Joni Mitchell]] was perhaps one of the most prolific songwriters to make extensive use of multiple sus chords, explaining that "so much in my life was unresolved from 'when were they going to drop the big one?' to 'where is my daughter?' that I had to use unresolved chords to convey my unresolved questions".<ref>Joni Mitchell interview, Canadian Broadcasting Corporation, 2011{{full citation needed|date=October 2021}}</ref>
-<p>
- [[Burt Bacharach]]'s "[[The Look of Love (1967 song)|The Look of Love]]" in the arrangement performed by [[Dusty Springfield]] (1967) opens with a clearly audible Dm7 suspension.<ref>Bacharach, B. and David, H. (1967, p9) "The Look of Love" in ''Burt Bacharach Anthology''(1989). Miami, Warner Brothers. </ref> [[Carole King]]'s song "[[I Feel the Earth Move]]" from her album [[Tapestry (Carole King album)|''Tapestry'']] (1971) features a striking B{{music|b}}<sup>sus9</sup> chord at the end of the phrase "mellow as the month of May". <ref>King. C. (1971, p.4) "I feel the earth move" in ''Tapestry''. Milwaukee, Hal Leonard </ref>
+The instrumental opening to [[The Four Tops]]’ song "[[Reach Out I'll Be There]]" (1966) features an  E chord containing a suspended fourth, resolved immediately by being followed by an E minor chord. <ref> Holland, Dozier and Holland (1966), Jobete Music Co. Inc </ref> [[Burt Bacharach]]'s "[[The Look of Love (1967 song)|The Look of Love]]" in the arrangement performed by [[Dusty Springfield]] (1967) opens with a clearly audible Dm7 suspension.<ref>[[Burt Bacharach|Bacharach, B.]] and [[Hal David|David, H.]] (1967, p. 9) "The Look of Love" in ''Burt Bacharach Anthology''(1989). Miami, Warner Brothers.</ref> [[Carole King]]'s song "[[I Feel the Earth Move]]" from her album [[Tapestry (Carole King album)|''Tapestry'']] (1971) features a striking B{{music|b}}<sup>9sus4</sup> chord at the end of the phrase "mellow as the month of May".<ref>King. C. (1971, p. 4) "I feel the earth move" in ''Tapestry''. Milwaukee, Hal Leonard</ref> The last chord of the first bridge of [[The Police]]'s "[[Every Breath You Take]]" is an unresolved suspended chord,<ref name="Stephensonp88" /> the introduction and chorus of [[Shocking Blue]]'s "[[Venus (Shocking Blue song)|Venus]]" each contain an unresolved suspended chord,<ref name="Stephensonp88" /> and the introduction of [[Chicago (band)|Chicago]]'s "[[Make Me Smile]]" has two different suspended chords without traditional resolution. The verses of [[Oasis (band)| Oasis’s]] [[Champagne Supernova]] (1996) is entirely based on an Asus2 chord. <ref name="Stephensonp88" />
-Two songs that use suspended chords prominently are the introduction of [[Crowded House]]'s "[[Don't Dream It's Over]]", where the first chord is an E{{music|b}}sus2, and the acoustic introduction to [[Rush (band)|Rush's]] "Natural Science" utilizes a sequence of four suspended chords (B<sup>sus2</sup> – A<sup>sus2</sup> – C<sup>sus2</sup> – D<sup>sus2</sup>).{{Citation needed|date=March 2019}} The last chord of the first bridge of [[The Police]]'s "[[Every Breath You Take]]" is an unresolved suspended chord, the introduction and chorus of [[Shocking Blue]]'s "[[Venus (Shocking Blue song)|Venus]]" each contain an unresolved suspended chord, and the introduction of [[Chicago (band)|Chicago]]'s "[[Make Me Smile]]" has two different suspended chords without traditional resolution.<ref name="Stephensonp88" /> Michael Jackson's "[[Black or White]]" uses both sus4 and sus2 chords (E<sup>sus4</sup> – E – E<sup>sus2</sup> – E), and so does Tom Petty's "[[Free Fallin']]" (F – F<sup>sus4</sup> – F – F<sup>sus2</sup>).{{Citation needed|date=March 2019}} Much of [[Pointer Sisters|The Pointer Sisters]]' song "[[Automatic (Pointer Sisters song)|Automatic]]" uses suspended chords. The album ''[[Loveless (My Bloody Valentine album)|Loveless]]'' by [[My Bloody Valentine (band)|My Bloody Valentine]] also uses suspended chords extensively.{{Citation needed|date=March 2019}}
 ==Examples in classical music==
+{{see also|Nonchord tone#Suspension and retardation}}
+Examples of suspended chords can be found in the pieces below (usually in connection with [[pedal point]]s).
+The piano postlude to the song "Ich grolle nicht" from [[Robert Schumann]]'s 1844 song cycle ''[[Dichterliebe]]''.
-''See also:'' [[Nonchord_tone#Suspension]]
+[[File:Schumann Ich grolle nicht concluding bars - version for audio.wav|thumb|Schumann, "Ich grolle nicht" concluding bars]]
+[[File:Schumann Ich grolle nicht concluding bars.png|thumb|center|500px|Schumann "Ich grolle nicht"]]
+The concluding bars of the Prelude to [[Richard Wagner|Wagner]]'s final opera ''[[Parsifal]]'' (1882):
-Examples of suspended chords can be found in the pieces below (usually in connection with [[pedal point]]s).
+[[File:Wagner, Parsifal prelude closing bars.wav|thumb|Wagner, ''Parsifal'' prelude concluding bars]]
+[[File:Parsifal Prelude - end.png|thumb|center|500px|Wagner, prelude to ''Parsifal'', concluding bars]]
+The first movement of [[Anton Bruckner]]'s [[Symphony No. 7 (Bruckner)|Symphony No. 7]]:
-[[Claude Debussy|Debussy]]’s "Golliwogg’s Cake Walk" from his [[Children's Corner|''Children’s Corner'']] suite for piano (1908):[[File:Golliwogg's cake walk- version for audio.wav|thumb|Debussy, from "Golliwogg's Cake Walk"]][[File:Golliwogg's cake walk.png|thumb|center|500px|Debussy, Golliwogg's Cake-walk.]]The piano postlude to the song "Ich Grolle Nicht" from [[Robert Schumann]]'s 1844 song cycle ''[[Dichterliebe]]''.[[File:Schumann Ich grolle nicht concluding bars - version for audio.wav|thumb|Schumann, "Ich grolle nicht" concluding bars]][[File:Schumann Ich grolle nicht concluding bars.png|thumb|center|500px|Schumann "Ich grolle nicht"]]The concluding bars of the Prelude to [[Wagner]]'s final opera ''[[Parsifal]]'' (1882):[[File:Wagner, Parsifal prelude closing bars.wav|thumb|Wagner, Parsifal prelude concluding bars]][[File:Parsifal Prelude - end.png|thumb|center|500px|Wagner, prelude to Parsifal, concluding bars]]The first movement of [[Anton Bruckner]]’s [[Symphony No. 7 (Bruckner)|Symphony No. 7]]:[[File:Bruckner Symphony No. 7, first movement bars 103-9.wav|thumb|Bruckner Symphony No. 7, first movement bars 103-9]][[File:Bruckner 7, 1 bars 103-9, revised version.png|thumb|center|500px|Bruckner Symphony No. 7, first movement, bars 103-9]]
+[[File:Bruckner Symphony No. 7, first movement bars 103-9.wav|thumb|Bruckner Symphony No. 7, first movement bars 103–109]]
+[[File:Bruckner 7, 1 bars 103-9, revised version.png|thumb|center|500px|Bruckner Symphony No. 7, first movement, bars 103–109]]
 ==See also==
+*[[Blues scale]]
 *[[Georgian triad]]
 ==References==
 {{reflist}}
+'''Sources'''
+* {{cite book|last=Levine|first=Mark|author-link=Mark Levine (musician)|title=[[The Jazz Piano Book]]|publisher=Sher Music|year=1989|isbn=0-9614701-5-1}}
+* {{cite book|last=MacDonald|first=Ian|author-link=Ian MacDonald|year=1994|title=[[Revolution in the Head: The Beatles' Records and the Sixties]]|location=London|publisher=Fourth Estate}}
-== External links ==
-* [https://www.fachords.com/suspended-guitar-chords/ Suspended Guitar Chords Chart]
 {{Chords}}