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Topic: E9th Suspended Chords |
Ron Funk
From:
Ballwin, Missouri
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Posted 27 May 2019 7:04 pm |
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The easiest way to obtain a Suspended chord at Open position is to include B pedal with any of the standard 3 string grips.
Is there an easy way to obtain a Suspended Chord at Closed or Inverted positions?
Thanks! |
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Paul Sutherland
From:
Placerville, California
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Posted 27 May 2019 7:08 pm
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From the pedals down position slide the bar up one fret as you come off the B pedal and engage the knee lever lowering the Es. If you have the E lower on the left leg that will be hard, but it's not impossible.
_________________
It don't mean a thing if it ain't got that swing. |
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Chris Reesor
From:
British Columbia, Canada
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Posted 27 May 2019 7:32 pm
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A sus4 is 1-4-5, so at pedals down, open, you need D instead of C#, which is on strings 5 and 10. Just substitute string 9 for 10, or string 2 lowered a half for string 5, and you have it.
In A-F position, you just substitute string 7 for string 8 and string 1 for string 4.
I'll let you do the theory/math. It's good for you. 
_________________
Excel Superb U12, MIJ Squier tele, modified Deluxe Reverb RI, Cube 80XL, self built acoustics & mandolins |
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Jim Palenscar
From:
Oceanside, Calif, USA
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Posted 27 May 2019 8:31 pm
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| Also- a Gsus4 is a Csus2 at the same fret(3) in the pedals down position for the C by simply engaging the B pedal. IMHO, the Csus2 is a better chameleon chord when you're not sure where the song is going so is a good choice not to get in trouble. |
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Rick Schmidt
From:
Prescott AZ, USA
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Posted 28 May 2019 7:23 am
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Another Csus would be Open {no pedals} at fret One, strings 8,7,5... or 10,8,7 etc
Then to resolve to a Cmaj, just lower your Es to Eb |
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Fred Treece
From:
California, USA
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Posted 28 May 2019 7:43 am
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| A pedal + E raise lever, strings 7 and 1 are your suspended 4ths. |
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Ron Funk
From:
Ballwin, Missouri
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Posted 28 May 2019 8:53 am
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Thanks for the above tips.
Ron |
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Gary Arnold
From:
Panhandle of Florida, USA
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Posted 28 May 2019 1:10 pm
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Gsus4 chord: 3rd fret open add B pedal(3B) and at the 10th fret slide down 2 frets and add B pedal (8B) using standard grips "Thus Sayeth Jeff Newman". Hope this helps. It always works for me.  |
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Dale Rottacker
From:
Walla Walla Washington, USA
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Gary Arnold
From:
Panhandle of Florida, USA
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Posted 28 May 2019 4:31 pm
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| That's good to know tooooooooo |
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Ian Rae
From:
Redditch, England
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Posted 28 May 2019 11:46 pm
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Suspensions often resolve. So to me the sus4 with the B pedal or the E lever is more satisfactory than using strings 7&8 with A&F where you hop strings and don't get the audible PSG-style movement.
So now a question: when we talk of a sus2 is it a lowered 3rd or a raised tonic?
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Bengt Erlandsen
From:
Brekstad, NORWAY
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Posted 29 May 2019 2:27 am
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If the chord is "suspended" then the "3rd" has been replaced by either a "2nd" or a 4th as I "understand" sus voicings.
Root 2nd 5th = sus2
Root 4th 5th = sus4
So..... locate where the "3rd" is, replace that "3rd" with a note either halfstep above (pedal, lever, slant, bend or swap strings) or a wholestep below to acheive the sus sound.
B.Erlandsen
Zumsteel S12extE9 |
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Charles Kurck
From:
Living in Arkansas but Heaven is home
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Posted 29 May 2019 3:41 am
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Ian Rae
From:
Redditch, England
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Posted 29 May 2019 4:04 am
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Everything Bengt says makes perfect sense and Charles's charts are beautiful.
So what do we call it when we resolve
2nd 3rd 5th to root 3rd 5th?
Is that not also a suspended 2nd, albeit of a different kind?
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Bengt Erlandsen
From:
Brekstad, NORWAY
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Posted 29 May 2019 12:40 pm
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2nd 3rd 5th to Root 3rd 5th would be be an implied add2 voicing since root isnt included. (hopefully someone plays an low root note to fix/lock those 3 notes in place)
2nd 3rd 5th by itself , with no root might sound to the ear as Root 2nd 4th wanting to resolve to Root 3rd.
Trust the ear more than anything else and it will be all ok. If the note you are hearing is a 2nd, then it will behave differently than if the exact same note is a 4th.
The absolute correct terminology(if there is such a thing) for all the different voicings is not common understanding to all, and there is guaranteed to be a lot of misunderstandings.
Charles's chart is crystal clear tho
Bengt Erlandsen |
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Henry Brooks
From:
Los Gatos, California, USA
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Posted 29 May 2019 2:12 pm
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Sometimes a 2 chord, C2 for example,is not Sus chords but a add 9, CEGD not CDG. Contemporary Christian music uses a lot of Sus chords. The 5 chord is generally a Sus 4 the other will be Sus 2's or minors. Also there are Sus seventh or nine chords C7 Sus or C9 Sus. By the way the C pedal by it's self makes. a C# Sus 4 or a F# Sus 2.
Henry |
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Fred Treece
From:
California, USA
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Posted 29 May 2019 2:53 pm
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| Ian Rae wrote: |
Everything Bengt says makes perfect sense and Charles's charts are beautiful.
So what do we call it when we resolve
2nd 3rd 5th to root 3rd 5th?
Is that not also a suspended 2nd, albeit of a different kind? |
“Suspended†is the term used when the 3rd is removed. 2-3-5 is not a sus chord. It is a rootless voicing. If you want to chart your chord so the player knows to omit the root, it needs to be indicated with something like C2(no root). |
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Ian Rae
From:
Redditch, England
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Posted 30 May 2019 12:41 am
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I'm away from the computer but when I get back I will illustrate my question. When I suggested that a suspended second might resolve downwards I was not assuming that the chord was in root position.
_________________
Make sleeping dogs tell the truth!
Homebuilt keyless U12 7x5, Excel keyless U12 8x8, Williams keyless U12 7x8, Telonics rack and 15" cabs |
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Fred Treece
From:
California, USA
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Posted 30 May 2019 8:49 am
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There is 2-3-5 of the chord and 2-3-5 of the key. They are the same only if we are talking about the tonic chord.
2-3-5 of the key could also be 1-2-4 of the ii, 5-6-1 of the V, b7-1-b3 of iii, etc. It is an ambiguously voiced fragment no matter what you call it. It doesn’t even ask to be resolved like sus chords often do, and it sounds pretty good just left hanging over any of those chords. |
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