Sus4 and Sus2

1. Moving the 3rd

So far, we’ve covered altering the 5^th of chords. Next, let’s consider adjusting the middle note, the 3^rd, of the triad.

That’s the idea. It involves creating formations such as 1-2-5 or 1-4-5.

The Third Force After Major/Minor

The sharp-fifth and flat-fifth is like a mere embellishment. For chord names, it merely required adding a small notation on the “right shoulder”. However, modifying the 3^rd this time is significantly different in terms of its importance. Unlike the “colorless and transparent” nature of the 5^th, the 3^rd is a crucial note that determines the quality (major/minor) of the chord. Shifting it means creating a chord that can’t be identified as either major or minor.

This chord, creating a sound that’s “neither major nor minor,” holds significant theoretical and expressive importance in music.

2. sus4 and sus2

For alterting 5^th, whether based on major or minor matters. But this time it is 3^rd that is moved, so there’s no concern about it.

When you raise the 3^rd note by a half step from a major chord, it’s called a Suspended Fourth chord, and when you lower the 3^rd note by a whole step, it’s called a Suspended Second chord. And their chord symbols are “sus4” and “sus2“, respectively.

Due to the ambiguity of major/minor, these chords create a unique tension, and typically, the 4^th/2^nd is expected to resolve to the 3^rd, a specific trait of these chords.

This approach, where it resolves back to the normal major chord of the same root, is the most fundamental usage. Particularly in the case of I_sus4, it contains the “resolution of a tendency tone” – the familiar fa→mi motion. So you can easily imagine what musical effect it will have.

In this article, the focus will primarily be on the more crucial sus4 to provide explanations.

Sus4 Chords Diatonic to the key

Among the six prime chords, except for IV, sus4 can be created without accidentals– that means there are five sus4 chords that are “diatonic to the key”.

Because of this, it can be quite casually inserted into a song. If we metaphorically refer to the sharp-fifth as a “spice”, the sus4 could be likened to something like “pepper”, easily adding a subtle flavor of tension/resolution.

3. Standard usage of sus4

The most convenient use is turning the original major chords I and V into sus4.

V→Isus4→I

Isus4 is quite user-friendly and is used in numerous pop songs. One typical use is to insert between V and I, to delay the arrival of the stable tonic chord.

IVVI^sus4I

Isus4 contains fa instead of mi, so it sounds a bit similar to IV. You can see the progression above as the more subtle version of VIVI retrograde D–S–T motion. It’s similar to opening a parachute midway through skydiving to decelerate before landing.

Example

Here is an example of this “parachute landing” at the end of the chorus. The soft I^sus4→I cadence is reinforcing the gentle ending of the ballad.

Isus4, Isus2 and I

Or just combining sus4, sus2 and a normal major chord makes a catchy chord progressions.

I^sus4II^sus2I

You might have heard this type of chord progression in several songs.

Example

Michael Jackson’s “Black or White” uses the progression in intro. By repeatedly constructing small tensions/resolution developements, you can make a decent story of chords without moving away from I.

Vsus4

Arguably one of the most commonly used sus4 chords is Vsus4. By turning the inherently unstable dominant chord into sus4, it creates a top-level sense of tension!

VI_mIVV^sus4V

Especially common is the pattern of V_sus4→V just before the chorus. This helps to transition into the chorus, creating a “run-up” or build-up towards it.

Example

“Woman” by John Lennon, firstly starts with I^sus4II^sus2I progression, exactly like “Black or White”. But also, listen to the part just before the chorus (0:47-); the long and explicit V_sus4→V progression is fully utilized here.

By using sus4, you can extend the length of musical tension that dominant chords create, in this case for 2 bars. For such a long duration listeners wait for the tension to be released, and that’s (a part of) why you feel this much fulfilled on entering the chorus part, with a stable tonic chord.

As Vsus4 is diatonic to the key, the impact on sonority is not that big. This allows for bringing subtle effects that don’t disrupt the calm mood of the song.

4. Sus4 from Minor Chords

Particularly in minor chords, utilizing quality-change can alter them into major chords. During the phase of sus4, the suspense of “where will it go, major or minor?” intensifies, creating a rather thrilling “teasing” effect. And then, with boldly progressing to the major chord, there’s a pleasant surprise.

IV_Δ7VVI_sus4VI

Here it is! A sudden burst of brightness at the end, extracting the full essence of VI.

Conversely, using such an obvious “teasing” sus4, then landing back into the normal minor chord could bring forth a feeling of disappointment, as it might appear to be quite ordinary despite the long suspension.

IV_Δ7VVI_sus4VI_m

There’s a sense of “letdown” in this usage. Therefore, in scenarios where it’s explicitly used as a way of “dragging along”, progressing into a major chord might be a more satisfying option.

Example

Here’s an actual example. The song starts with II_m→VI_m repeating twice. Then goes to IV→V, just as the listener’s anticipation for resolution heightens, VI_sus4 emerges. It prolongs the tension and finally lands on the major-quality-changed VI, releasing all built-up tension.

5. Use as Seventh Chords

Just like flat-fifth or sharp-fifth, sus4 chords can attain a richer and more complex sound by transforming into seventh chords. Since the quality of the 3^rd is no longer a concern, there are just two types of sus4 seventh chords, whether adding minor 7th or major 7th.

The chord name totally follows the rule—If a major 7th (11 semitones) is added, it’s Δ7sus4, while it’s 7sus4 if minor 7th (10 semitones) is added.

In other words, if a “Δ7” chord gets sus4 alteration, it becomes “Δ7sus4”. If a “7” or “m7” chord gets sus4 alteration, it becomes “7sus4”.

7sus4

The sus4 state of the triad consists of the “1,4,5” formation, lacking the major or minor tonality in the third, which makes the sound quite firm. In more mature genres like jazz, this can lead to a sense of inadequacy in sound density.

II_m7V_sus4I_Δ7IV_Δ7

Here’s the version with just sus4. Undoubtedly, IIm7 or IΔ7 chords convey a mature sound as seventh chords, but the sus4 gives a straight, powerful, not quite coordinated with others. Hence, let’s try transforming sus4 into 7sus4.

II_m7V_7sus4I_Δ7IV_Δ7

It’s a subtle difference, but this version has a richer sound and suitable for this kind of songs. Notably, in this audio, the sus4 doesn’t resolve to its original major chord, and that’s perfectly fine.

But note that seventh chords aren’t always superior; sometimes, the straightforward sound might suit a particular style better. Hence, choose according to the genre or style of the song.

Δ7sus4

On the other hand, “Major Seventh Sus4” isn’t as commonly seen as Seventh Sus4, but it carries a quite charming sound.

IV_Δ7V₇I_Δ7sus4I

As you can hear, it has a beautiful resonance, but this feels more like a different type of chord rather than just a “spice-like decoration”. With the fa–ti tritone, this is…

…close to a state where the “upper is V7, while the bass plays an independent I.” The bass supports stability in the tonic, while the upper notes produces the dissonance of the tritone, making the sound impression quite intricate. That may be why it’s not used as casually as 7sus4.

---

As epitomized by TDS functional theory, controlling tension/resolution is fundamental in constructing the story of music. The unique structure of sus4 generates tension, which makes listeners anticipate progressions to normal major/minor chords, thus Isus4, for example, functioning somehow as an intermediate between T and S. By understanding new types of chords, you can enrich your expressiveness.

Summary

• Sus4 and sus2 chords are created by moving the 3^rd up and down.
• Sus4 enhances the tension of the chord and typically resolves to a standard major/minor chord for retrieving stability.
• Utilizing it as a Seventh chord provides a richer sound.

Continue

---