Monday Mail: What Actually Happens to a C7 Chord Suspension?

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Many readers ask for more information on chord suspensions.

Q: "What actually happens to a C7 chord suspension?"

A: Wikipedia says:

Suspended chords are commonly found in folk music and popular music... A suspended chord (sus chord) is a chord in which the (major or minor) third is omitted, replaced usually with either a perfect fourth or a major second,  although the fourth is far more common. The lack of a minor or a major third in the chord creates an open sound, while the tension between the fourth and fifth or second and root creates dissonance.

Actually, suspensions are used in two very different ways. The term "suspension" comes from a technique developed in early classical music (one associates its origins with the Baroque era). When a dissonant note is placed on a strong beat in place of an expected consonant one, and when that note then moves to a consonance, the result is a slight delay or "suspension" of the harmonic movement. We are forced to wait for a resolution of the chord progression, and feel temporarily "suspended."

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

 Dm7 = D/FAC

For example, here is a simple II-V-I chord progression. First, it resolves clearly and directly to a C chord. Next, it moves into a C suspension (an F is used instead of an E in the C harmony); this suspension then resolves when the F moves down to an E.

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

 G7 = G/FGB

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

C = C/EGC

So, you can repeat the same chords, Dm7 and G... then play:

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

Csus4 C = C/FGC then to C/E 

Sometimes this suspension-resolution formula appears in a form associated with hymn and gospel playing. Like, C/FGC, then single r.h. notes E, D, E.

But there is another type of suspended sound, and it doesn't follow these rules. It occurs in very contemporary pop and jazz pieces. Simply, this kind of suspension is a chord sound in which the fourth is used instead of the third. It is a sound enjoyed for its own sake, and it doesn't resolve or move in any particular way. Here it is in a V-I progression using dominant and seventh harmonies.

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

C11 = C/BbDF then C/BbDFG

Db Eb Gb Ab Bb C D E F G A B C

Db Eb Gb Ab Bb C D E F G A B C

F11 = FBb/EbGC, then F/EbGBbD

The best way to fully understand the way suspensions are used is to try them in as many situations as possible.

Suspended chords leave you hanging in mid air. They create suspense or anticipation. They sound and feel as though they should be resolved. And so they are used in endings. Also, they are perfect for extending the measure to do a run in your right hand. For more on this subject, visit How to Play Suspended Chords

A suspended chord (or a chord suspension) is usually made by holding one of the tones of a chord a tone higher, then resolving it to its resting place. This can be done with any tones of a chord, but one of the more common suspensions is to manipulate the third of the chord, by first playing the fourth, and resolving it to the third. So a C suspended chord has the tones of the root, the fourth and the fifth. More on suspended chords, here.

One of the best music resources that is a theory book is called 300pg Course Book. You'll learn about a common passing chord, the diminished7. Passing chords are simple and adding passing chords is a great way to spice up your progressions.

*some affiliate links in this post*

Have fun playing chord suspensions!

All the best,






"The beautiful thing about learning is that no one can take it away from you." B.B.King

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Altered Pentatonics, Scales and Patterns

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What is an altered pentatonic? It is any scale with five notes per octave that is not a major or minor pentatonic. Three of the more common altered pentatonic scales includes the b6 pentatonic, the b3 pentatonic and the b2 pentatonic. Each scale is essentially a major pentatonic with the exception of one 'altered' or changed note.

Play a major pentatonic while lowering the appropriate scale degree to achieve the altered altered pentatonic.

Here's some examples:

Major Pentatonic: C, D, E, G, A

b6 Pentatonic: C, D, E, G, Ab

b3 Pentatonic: C, D, Eb, G, A

b2 Pentatonic: C, Db, E, G, A

Due to the fact that pentatonics are not made up entirely of whole or half steps, patterns must be discussed in terms of skips and steps. A step occurs when the next note is an adjacent note while skips occur when the next note is an adjacent note while skips occur when we skip over a note in the scale to play the next available note.

Scalar Pattern with b6 Pentatonic:

C, D, E... D, E, G... E, G, Ab...G, A, C... Ab, C, D... C, D, E... E, D, C... D, C, A... C, Ab, G... Ab, G, E...G, E, D... E, D, C.

Intervallic Pattern with b2 Pentatonic:

C, E, Db, G... E, A, G, C... A, Db, C, E... Db, G, E, A... C, G, A, E... G, Db, E, C...Db, A, C, G... A, E, G, Db.

Try to create a few of your own patterns. They will help create new ideas, assist you with the memorization of the new scales and will acclimate your ear to the new sounds you are making.


Chord Scale Relationships


Altered pentatonics can be very useful over a variety of different chord types.



b6 Pentatonic 1 2 3 5 b6

Major 7 #5 = 3 #11 #5 7 R

Minor (Maj7) = 5 6 7 9 b3

Minor 6/9 = 5 6 7 9 b3

Dominant = 9 3 #11 6 b7

Half Diminished = b7 R 9 11 b5

Running Changes

Once you've mastered the concept of playing altered pentatonics over a single chord or harmonic situation, it's time to move on to running some changes. Use b6 pentatonics in the context of a minor II-V-I progression. The trick to remember this sequence is that you will be building the b6 Pentatonic off of the roo b3 and 5 of the tonic minor triad.

Over Dm7b5 you will see a C b6 Pentatonic, over G7alt you will find an Eb b6 Pentatonic and over the Cm6 there is a G b 6 Pentatonic.

You might find that limiting yourself to one scale or sound can be liberating. Every note might not fit over every chord, but forcing yourself to find out what does work is often a very enlightening experience. Improvising means thinking outside of the box and expanding your creative abilities. Use your own ears as a guide for what works and what doesn't and you'll never be lead astray.
(An article by Chaim Burstein)

You may be interested in, Musician's Transformation and Music Training Center (affiliate link).





"The beautiful thing about learning is that no one can take it away from you." B.B.King

Most Common Variations on the Minor Chord

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 Where do chords come from? We know that chords come from scales. 

Here's the most common variations on the Major Chord:


Cmaj7 = C E G B


C6 =  C E G A


Cmaj9 = C E G B D

C6/9 = C E G A D


Notes:


* All chords contain 1,3,5, the basic major triad.
* Five note chords can be handled by spreading the notes between both hands. Usually the left hand gets the root (1) with an optional addition of the 5 or the 7. Eliminate non-essential notes in the chord (usually 5, perhaps 1).

 Most Common Variations on the Minor Chord

Cm7 = C Eb G Bb

Cm9 = C Eb G Bb D


Cm6 = C Eb G A


Cm maj7 = C Eb G B


Notes:


* All these chords contain 1 b3 5, the basic minor triad.
* The last 2 examples (Cm6 and Cm maj7) would work best in songs in minor keys where the chord is tonic. In other words Cm6 works best as a substitution for the Cm chord in the key of C minor. The minor major seventh could be used in the same situation. However, it is very dissonant and should be used with care.


Right now HearandPlay is offering a sale on their great Theory Book called the 300 page course book. There is lots of information on Major and Minor chords in the book. You might want to check it out: 300 Page Course Book

Thanks for stopping by.
I hope you enjoy your stay at LadyD Piano.

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Finding Thirteenth Chords On The Keyboard

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Of all the common chords, thirteenths are the biggest - and the hardest to visualize on the keyboard. Any given type of thirteenth, for example, makes twelve different visual patterns of black and white keys, one for each root along the chromatic scale. Each pattern, of course, can be individually memorized. But such learning by rote is tedious. Here's an easier way to learn thirteenth chord patterns, a way that requires only the recognition of Major and minor thirds or the recognition of Major and minor triads.

* Major and Minor Third Recognition

White key Major thirds always enclose two black keys; white key minor thirds enclose only one. Example: Major 3rds F to A, C to E, G to B and Minor 3rds: B to D, A to C, E to G, D to F

Black key Major thirds always enclose another black key; black key minor thirds do not.
M 3rd: Gb to Bb and mi 3rd: Eb to Gb and Bb to Gb

Black and white key Major thirds always enclose two white keys; black and white key minor thirds enclose only one. M 3rds (white over black): Db to F, Ab to C, Eb to G, Bb to D. Then we have M 3rds (black over white): D to F#, A to D#, E to G#, B to D#

mi 3rds (black over white) F to Ab, C to Eb, G to Bb and (white over black) Gb to A, Db to E, Ab to B

* Thirteenth Chord Structures

Alternate letters along the musical alphabet specify chord components above the root. As the next example shows, thirteenth chords contain all seven:
1 3 5 7 9 11 13
C E G B D F A

Here's an easier way to learn thirteenth chord patterns. Just spot the Major and minor triads.

* The Model Thirteenth Chord Types

Among all the types of thirteenth chords, three predominate. The first type, the Major thirteenth (#11), alternates Major and minor thirds upward:
CM 13(11#) = C to E (M3), E to G (m3), G to B (M3), B to D (m3), D to F# (M3), F# to A (m3)

The second type, the minor thirteenth, alternates minor and Major thirds upward, just the reverse of the first, Cm13:
C to Eb (m3), Eb to G (M3), G to Bb (m3), Bb to D (M3), D to F (m3) and F to A (M3)

The third type, the Dominant thirteenth(#11), groups its inner thirds in orderly pairs. It encloses two successive minors then two successive Majors between its bottom Major and its top minor: Major, minor-minor, Major-Major, minor. C13 (11#):
C to e (M3), E to G (m3), G to BB (m3), Bb to D (M3), Gb to A (m3)

So the three types also look like stacked triads: Major-Major-Major, minor-minor-minor and Major-minor-Major. Altered notes produce additional types. and there's a way to find all the possible thirteenth chords types. Either position of the third (Major or minor) combines with any position of the fifth (Perfect, augmented, or diminished) to yield six types. Then, mixing in various positions of the seventh, ninth, eleventh, and thirteenth multiplies the number of possible types to more than two hundred! lol

I highly recommend the 300 page course book to you. Jermaine Griggs of HearandPlay.com
has a great theory instructional book for you that you will want to have and refer to it often.
Music Theory book

All the best,
~ LadyD