Mastering Sus Chords: Adding Options to Your Arsenal

A reader from Colorado writes:

I would love it if you wrote an article on what to play over a sus chord. I played at a jam last night and played Maiden Voyage and would like to get a few more ideas on how to tackle it.

I can recall the first time I saw a sus chord and being stumped as what to play. I remember thinking to myself: “Ok, this is not a normal dominant chord, I have to figure out a new scale to play over this…and what is up with the the third of the chord, am I allowed to play it or not?”

After 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.

A huge misconception about sus chords is the mentality of avoiding the 3rd of the chord. This is simply not true. 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.

Shown below, are two examples of an F7 sus chord voicing that includes the 3rd of the chord above the 4th:

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. A V7 sus chord, is basically a V7 chord without the third in the voicing, but the third is still a part of that tonality. You can actually use a lot of the same language that you would play over dominant, major or minor sounds.

Take a D7 sus for instance, over this one sound you can think in three different modalities; major, minor, or dominant. A 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

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minor), the difference only lies in the naming of the chord and how you are approaching it mentally. In all three cases, you can use the same harmonic material, which you are already familiar with, for improvisation:

Sus chords have a very open sound and as a result, create a wide variety of harmonic possibilities for the improviser. When you do see these chords come up, you want to be able to have more options than the misguided advice of avoiding the third or relying on some sort of pentatonic concept. You shouldn’t feel restricted when you hear a sus chord, rather, you should feel as though you have unlimited harmonic choices.

Some options over a V7 sus

Many times, how you play over a sus chord is determined by where the chord is resolving to, or if it is resolving at all. This is a great place to use different lines and language that you’ve transcribed over various progressions in a new way. Here are just a few harmonic options that are available, utilizing some of the language that you already have:

Major scale, diatonic material: A V7 sus chord has the same function as a V7 chord, leading to the tonic, but because the third isn’t present, the chord has a more static sound. Because of this, you can use diatonic material from the related tonic chord or even treat the V7sus as a normal V7 chord. (G7sus: CMaj, G7)

Major scale with flat 6th: Instead of using only diatonic material from the related I chord, include a b6 into the scale to incorporate chromaticism. (G7sus: CMaj w/Ab)

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Bebop scale: Using a bebop scale or any altered dominant language that you have worked out works to resolve the V7 sus sound to a I chord or an implied resolution at the tonic. (G7sus: G7 bebop scale)

Triadic approach: Pick two diatonic or non-diatonic triads that don’t have a shared pitch (no notes in common). For more about this technique, check out this post on using triads in your solos. (G7sus: F Maj triads and G Maj triads)

Imply ii-V’s: Using the idea, once again, of utilizing diatonic material that you already have in your arsenal, you can insert a ii-V progression on top of a V7 sus chord. Refer to this post on using ii-V’s in static progressions. (G7sus: D-7, G7, CMaj7)

Imply major and minor simultaneously: Because of the absence of the third in the voicing of a sus chord, you can imply both major and minor tonalities. In the case of G7sus, alternating between a B natural and a Bb. (G7sus: G7 and G-7)

The list could keep going (pentatonic scales and patterns, chromaticism, substitutions, etc.), but the point is that there are many more options available than the common idea of just playing some sort of line that avoids the third. Keep in mind, however, that these are just a few theoretical examples, what you need to do is go to the records and listen to how your favorite players are tackling these chords. Nothing will make sus chords clearer than transcribing and internalizing what the masters are playing.

Examples on recordings

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Maiden VoyageHerbie Hancock’s tune Maiden Voyage is probably the most recognizable example of sus chords. Throughout the composition, he covers D7sus, F7sus, Eb7sus, and F#7sus (C#-13). Listen to how George Coleman, Freddie Hubbard, and Herbie navigate these sus chords:

In Your Own Sweet Way

On this Dave Brubeck composition, the V7sus chord is used in a more traditional way as an interlude between soloists. Check out how Bill Evans plays over this sound at 1:15, 5:19, and as he ends the tune at 7:57 in this clip:

Eighty One

On this Ron Carter composition, an F blues is reharmonized completely with sus chords in the place of the conventional dominant 7th chords. The openness of the sus sound, taking away the expected pull of V7 to I, enables the possibility of harmonic experimentation. Study how Miles and Wayne deal with these sus chords:

Passion Dance

No one exploits the quartal voicing inherent within a sus chord better than McCoy Tyner. Listen to how McCoy and Joe Henderson use pentatonic, triadic,and half-step motion to create excitement on sus chords:

Note how McCoy begins his solo (1:11 in the video) over the F7sus, quoting his melody, a prime example of using a triadic approach in your lines. In the line below, he alternates between material from an F major triad and an Eb major triad:

These are just a few of many examples of V7sus chords in recordings, also keep your ears open for them in tunes like Naima, Dear Old Stockholm and many others.

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Using a sus b9 chord:

The difference in this chord compared to a normal V7 sus lies in the voicing. The chordal instrument is now including the b9 in the voicing which alters the sound slightly. Just as you can think of a V7 sus chord as different chords (shown at the top), you can think of a V7susb9 chord in a few different ways. Take an E7susb9 chord for example, you can think of a G7/E or simply an E phyrigian scale, all three are utilizing the same harmony.

E7susb9:

Improvisers usually navigate this sound in one of two ways as a starting point:

• Phrygian (E7sus: E, F, G, A, B, C, D, E) [implies a minor 3rd]

• Harmonic minor (E7sus: A harmonic minor- E, F, G#, A, B, C, D, E)                [implies a major 3rd]

The phyrigian mode is the straight sound of the E7sus b9 chord as shown above. However, if the E7sus b9 resolves to an A chord of some type, the G# found in the harmonic minor scale will give the chord an extra pull towards the tonic.

Here are two examples of songs that contain a V7sus b9 chord:

Flamenco Sketches

On this tune from Kind of Blue,  the five tonalities are C Maj.7, Ab7, Bb Maj.7, D7sus.b9, and G-7. Here, the D7susb9 chord acts as an unstable point, compared to the other chords, that builds tension and resolves into the G-7. Take note of how Miles, Coltrane, Cannonball, and Bill Evans each treat this chord differently:

Spain

This is one of Chick Corea’s most famous compositions. The F#7susb9 is the second chord for the melody and solos:

Chick begins his solo (5:15 in the video) on the F#7susb9 sound and plays a

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line that utilizes the phyrgian mode, yet he also includes the G natural, hinting at the harmonic minor sound as well:

The next time the sus b9 chord appears (5:37 in the video), Chick becomes more harmonically daring. The example below shows how he utilizes patterns moving in a diminished sequence; starting an idea in F#7 moving to C-7, then to A-7, and finally to A Maj, all a minor third apart:

Create your own “sus” language

As you transcribe and absorb what your favorite players are improvising over sus chords, you will naturally begin to hear your own lines over these sounds. Use the language that you’ve already transcribed as a starting point to develop your own concept over sus chords and continue in your daily practice to search for new ideas. Hopefully, with some inspiration from these examples, you’ll be soloing with ease over this sound in no time.

Using Triads in Your Solos

After playing a tune for a while, it can seem like you are playing the same ideas or licks over the changes every time. For example, you see a D minor chord and think “okay D minor, I can play a D dorian scale or a D harmonic minor scale or arpeggiate from the third..”and after awhile, it can see like there is nothing new to play or that you are going down the same path on this chord every time.

One thing you can do in this situation is to find a completely new way to approach those familiar changes, forcing yourself to try a new technique so you avoid playing those same old licks. One option is to approach those common chords, on which you would normally play scales, with triads or groups of triads to create a new harmonic sonority.

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There are endless ways of combining triads harmonically, rhythmically and melodically to create new ideas for improvisation. Check out this live clip of Chris Potter playing with Dave Holland to get an idea of the possibilities of using triads (and fourths) in a solo.

Okay…thank you Chris, now that we all want to quit our instruments. But seriously, that video was an example of what can happen when you explore new approaches to chords and really master the technique behind them. Here are some ideas on how to start incorporating some triads into your playing…

Diatonic Triads

The first way to utilize these triads is to use ones that you are already familiar playing; triads that occur naturally in the modes of the major scale. Start with a simple group of two diatonic major triads and alternate between the two in every inversion. Say you are trying to solo over a D-7 chord, instead of approaching this chord as you usually would, try improvising with just an F major triad and a G major triad as shown in the example below:

Because these triads are constructed diatonically, they will work over chords (or modes) that naturally occur in the C major scale. As shown in the example, you could play the alternating F and G major triads over a C Major, G7 or F Major 7 #11 chord. Each of these combinations creates a different harmonic result, some more effective than others.

For example, over the G7 and F Major 7#11 chords, all the notes of those two triads are fairly stable, one triad emphasizing strong chord tones while the other emphasizes upper structures. Over the C chord it does not work as well because the third of the chord is not played, but it can be effective if you emphasize the G triad and use the F triad in passing, not landing on the harmonically weaker notes (root, 4th) on strong beats.

Just as you practice all your exercises, practice this triad concept in all four directions ascending and descending to explore every possibility available. Since the above example shows the Up Up direction, below are the remaining three directions shown ascending:

Up Down

Down Down

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Down Up

Once you get this sound in your ears, find a practical way to apply these triads based on the type of harmony you want to imply. If you are on a major chord and want to create a lydian sound you can play the root triad and the triad a whole step above the root, for example on a C Major chord, use a D major triad over a C triad. The same is true for a lydian dominant sound; if you are on a G7 chord you can play a G triad and the triad a whole step up, an A Major triad that includes the C# or #11.

Non-Diatonic Triads

When you are playing over specific chords, certain groups of triads have different levels of dissonance that vary from one to another. Triads that are non-diatonic, especially ones related chromatically, produce the most dissonance or tension. The triad a tritone away from the root is especially dissonant, creating momentum that leads to resolution. A common line shown below, on a C7 chord, utilizes the root C major triad and the tritone F# major triad all in root position, creating a dominant sound that includes the #11, b7 and b9:

Triad combinations that are especially dissonant are pairs that are a half step apart, for example using the root triad and a major triad either a half step above or below it. Say you are soloing over an F Major 7 chord and want to explore a new harmonic area besides diatonic material in F, try alternating between an F triad and an E Major triad, shown below:

The harmonic result of these two triads is an F Major 7 #11 #9 chord (the B and G#) or it can also be analyzed as an E/F chord. Rather than playing diatonic scalar material, these triads allow us to create new harmonic and intervallic possibilities over standard chords with material we already have

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down; the major triad.

Just like the pair of diatonic major triads could be used over a number of different chords, triads that are non-diatonic can be applied to various chords as well. The above example of the F and E Major triads, triads that a half-step apart, could also be used over a dominant chord like E7, emphasizing the strong chord tones with dissonant tones like the b9 and b13:

Connecting Triads

As we play these groups of triads in our solos, we will want to connect each one by the closest possible distance, a half-step, in order to sound fluid in our playing. Some of the triads and their inversions naturally move from one to the other by half-step and others do not, so we must incorporate some chromaticism to achieve this. In other cases, we might want to land on a certain note on a strong beat and must insert a chromatic passing tone between the triads to do this. The example below demonstrates this chromatic tone between the inversions of the F and G Major triads:

Rhythmic Variation

As this concept of triadic playing becomes more comfortable, try adding some of these rhythmic variations into the mix. Since triads are naturally groups of three, use triplet groupings to create different results:

In the same sense, because the triad is a group of three notes, playing eighth notes with triads will constantly off set the placement of the triad in the measure:

Also, breaking up the rhythm within the triad itself can lead to some new

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possibilities:

Finally, try combining these rhythmic elements together in the context of your line, not only creating harmonic tension, but rhythmic as well:

Creating Patterns on a Triadic Concept

As this idea of using groups of triads in your solos becomes easier, you can start to incorporate some chromaticism or create patterns based on the concept of two triads. One way is to create a line using just the first two notes of each triad, below is an example of this:

Here, just the first two notes of each inversion of the F and G Major triads are used over a D-7 chord in ascending and descending fashion. The result is almost pentatonic-like, consisting of intervals of major and minor thirds and perfect fourths.

Another way is to create a pattern or include diatonic material into the basic skeleton of the triad. In the example below, scale fragments are included into each inversion of the triads as a sort of passing tone, creating a linear effect.

There are many more possibilities with the concept of triadic improvising, the above examples are just a few to get started with. In your practice don’t feel limited to just major triads, experiment with minor, augmented, diminished triads or combinations of all of these. Ultimately you want to be able to use these triads as new creative material and a fresh approach for your solos, so you avoid getting stuck in that old routine of playing those same licks over those same changes every time you see them.

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Practice Everything in All Four Directions

A significant part of practicing jazz improvisation consists of working on scales, chords, and patterns. Practicing them in a thorough manner will enable you to obtain the most benefit in the shortest amount of time. Unfortunately, we often get caught up in practicing this material in the same incomplete way everyday. For instance, we may run up a scale from the bottom of our horn, to the top, and back down again, like this:

Or, perhaps we will run up the scale in diatonic seconds and reverse it coming down. These are fine places to start, but eventually you’ll want to mix it up a bit. However you currently practice, start to practice everything in all four directions. Nearly every pro I’ve ever studied with emphasized this technique.

First direction: Up, Up

To illustrate the various directions and how to go about practicing them, I’ll use the major scales moving chromatically. Later, I’ll suggest other options that

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you’ll definitely want to try.

This first example depicts the “Up, Up” direction.

• Start as low as you can on your instrument (always practice full range).

• Play the scale one octave ascending.

• Then move up chromatically to the next scale and repeat.

• Continue in this manner until you’ve gone as high as you can.

• Now begin to descend in the same manner you ascended, root of scale ascending an octave, however now you will move down chromatically after each octave completion. See the example below:

Second Direction: Down, Down

This second direction shows “Down, Down,” and you’ll use the same directions as before, but this time starting at the top of the scale and descending instead of ascending. Make sure once you reach the top of your range to descend in the “Down, Down” manner.

Third Direction: Up, Down

Now you’ll alternate directions by first “Up” and then “Down.”

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Fourth Direction: Down, Up

And finally you’ll switch the previous alternating directions to “Down” followed by “Up.”

Applying all four directions

This technique has a lot of power, as it can be applied to just about any melodic material you are working on.

• Triads

• Seventh Chords

• Intervals

• Triads based on intervals other than thirds

• Note groupings like Coltrane’s favorite, 1235

• Pentatonic scales, Hexatonic scales, etc.

• Transcribed lines

• Lines you created

• Any Scales for that matter, including scales you create!

• Seriously, everything.

Check out this video of Mark Turner warming up. Sounds like he knows about practicing in all four directions and how to apply them.

Things to Try

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• Change root movements – These examples were Chromatic (All Keys), Try Diatonic (Just one key, exploring its modes), Major thirds, Minor thirds, Fourths (Cycle movement)

• Vary and explore different rhythms

• Use different articulations

Practicing in all four directions has huge benefits. I urge you to explore this simple yet powerful method and I’m sure the rewards will be well worth the effort.

How to Use ii Vs to Activate Static Progressionsii Vs comprise the bulk of jazz chord progressions. They define a sense of tension and release that prevails throughout all western music. A key to understanding how to give your lines a sense of harmonic motion, lies in knowing where to insert a ii V into a static progression.

Activating static measures in a blues using ii Vs

When most people go to blow over a blues, they improvise on changes that look something like the example below.

This is pretty basic and strictly playing these changes will limit your lines tremendously.

Most jazz charts notate a blues with some added chords that I’m sure you’re familiar with. The chords typically added to most blues charts give the progression much more forward motion. See how the inserted chords push harmonically forward, resolving to a target chord?

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Yes, in most cases these changes are written in charts as I’m sure you’re aware of, however, understanding this concept is crucial to understanding how to insert ii Vs in specific places that are not written in charts, giving a sense of harmonic motion to rather stagnant progressions.

Before moving on, understand that:

• The added ii Vs aim for a target chord (E -7b5  A7 is headed for D- etc.)

• You can insert and play over these progressions regardless of whether the rhythm section plays these changes.

• You must play a line over these inserted changes that expresses their harmony. Keep it simple.

Ok, looking at the previous example of typical blues changes found in charts, there are still a couple inactive spots as shown below.

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Finding these spots and inserting ii Vs that push forward to a target chord is what we’re trying to develop. So when the rhythm section is plucking away the IV chord in measure 2, you can instead choose to play a ii V (D- G7) moving to C. And again in measure 6, when the rhythm section again is playing the IV chord, you can insert your ii V back to C again as illustrated below.

As I said, keep your line simple. You’re trying to express harmony that may or may not be played by the rest of the band. Keeping your line simple will make the implied harmony clearly resolve to the target chord.

Here’s an example of a line inserted into these measures pushing us toward the target tonics. Try using this common line and then go transcribe your own from one of your heroes.

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Activating a static group of measures in a tune using ii Vs

Any time you want to push harmonically toward a target chord, such as the tonic in a blues, you can insert a ii V before it. As you start implementing this concept, you’ll soon hear when it work best, as in the examples over a blues.

Another great place to use this concept is over a static group of measure, such as the first few bars to “I’ll Remember April.” Vamping on the same major chord for a few measures can sometimes feel like it gives you nowhere to go. By inserting ii Vs, you create harmonic forward motion in your lines, just by playing over your inserted changes.

For instance, instead of four bars of the tonic, you could play over the progression as follows. After playing the vanilla example you should be

running to go transcribe your own lines

Loads of tunes have static groups of measures like this: “This I dig of You,” “Green Dolphin Street,” and all modal tunes.

Inserting ii Vs in modal tunes

Modal tunes are another great place to use inserted ii Vs. Because many modal tunes are in minor, you’ll just change the ii V from major, to minor as shown in the next example.

Endless places to Insert ii Vs

Inserting ii Vs in static places in a progression, to push to a target chord is a powerful tool. As you experiment with this concept, you’ll quickly figure out when and where to insert ii Vs. Follow your ear. If it doesn’t sound right, it’s not. Keep working with it till it sounds good.

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