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Sus chords are a type of chord that is neither major nor minor. They sound very lush and can be used in many different ways. In this blog post, we will talk about the advantages of using sus chords when composing music, how to use them effectively and how they compare with other types of chords.
Bold: Sus chords are a type of chord that is neither major nor minor.
Italicize: In this blog post, we will talk about the advantages of using sus chords when composing music, how to use them effectively and how they compare with other types of chords.
Underline: When you compose in just intonation or meantone tuning, all triads can be built by stacking perfect fifths (e.g., C E G), which makes it easy to tune harmonic intervals because the ratio between consecutive pitches is constant whole number ratios — for example if one note has frequency 343 hertz then its octave must have frequency 1707 Hz; three fourths higher would be 432 Hz etc.). On type of chord that is neither major nor minor.
Bold: In this blog post, we will talk about the advantages of using sus chords when composing music, how to use them effectively and how they compare with other types of chords.
The term “sus” can be found in various historical sources such as medieval theory texts or even early modern organ tablatures from Italy. It’s also worth mentioning that the word comes from a Latin root meaning “to suspend”. The earliest records refer to these tones as suspensions because it was believed by some scholars at the time that all suspended notes were derived from dissonant intervals (e.g., octaves) which would then produce an unresolved sound on their own if not resolved quickly enough within the context of a musical phrase.
The advantages of using sus chords are that they offer an approach to chord-based harmony in which the root is not present but implied, and can be used as a color tone or lead voice, as well as provide harmonic support for other voices either below it (inversions) or above it (other suspensions). They also have inherent richness because a suspended note requires two notes played simultaneously whereas regular chords only require one note from each hand. This creates much more complexity than might be expected at first glance with just three different pitches per chord instead of six.
A suspension’s major benefit when compared to its relatives – diminished seventh chords and half-diminished sevenths – is that their dissonance resolves quicker due to the presence of a major third and perfect fifth. This gives them much more drive, as opposed to being open-ended like their relatives.
-Sus chords add harmonic complexity -due to two simultaneous notes in suspension they have better resolution than diminished seventh or half-diminished sevenths due to major third and perfect fifth -they are often used for color tones (as with suspensions) but also can be lead vocals when following other voices either below it (inversions) or above it (other sus chords).
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Inversions: When the notes of a sus chord are rearranged to be higher than the root, it is called an inversion. For example, Gsus becomes F-A-C (G major). This technique can help make a song sound more complex and interesting. There are three common types of inverted chords: -root position (written as C), where all parts have been transposed by one octave or 12 semitones; -first inversion (written as Esus), with two components swapped round so that what was originally on top now appears below its original location; second inversion (Esus) which has another component also swapped around so that what had been at the bottom now appears at the top.
The Advantages of Using Sus Chords:
sus chords are used within a chord progression to create tension, which can then be resolved by the next chord – this is known as an “appoggiatura” or suspension technique; for example, in C Major the sus chord might be Dsus (D major) and it would resolve on the E minor triad. A common way of using this technique is through modulation. For example, in G major you could have F-A-C followed by Gsus resolving into A natural minor. Another use of sus chords may occur when there’s a change from one key signature to another; for instance, if we’re starting with C Major and changing to A minor, the sus chord might be Fsus.
in order for a sus chord to sound right it needs to resolve on either an octave or a perfect fourth; this is because these intervals create similar sounds and may therefore make sense of why they can both work – if you think about how chords are based around thirds, then when one note changes from being odd numbered (one) to even numbered (two), that also means there’s been some form of resolution
so for example, with C Major: so C E G becomes D F Ab become Eb G Bb..and those would all have a nice rich “fullness” when played together as opposed to just two notes sounding at once. If we wanted to make it a sus chord, the Fsus would have an E on top.
we could also think about all three positions of this sus chord: C Major becomes A Minor by having D as the root note; so in that case, our fsus might be Gb B D. All chords can be thought of like this – there are many possible ways to use them and they aren’t just for beginners!
when thinking about adding notes to your guitar chords, you’re able to add secondary parts without any kind of struggle (which is helpful if someone else is playing with you). In some cases those extra sounds may not even need bass or drums at all because they’ll fill up space nicely while still being simple.
this would work well if your guitar is just accompanying vocals or in a new song that doesn’t have bass, drums, or other instruments to fill the space – and it’s also an easy way for beginners to experiment with adding different notes without having them interfere with any chord progressions!
sus chords are most often used as substitutes when you’re playing first position of the major scale (C Major becomes Csus). This has been so popularized by pop songs throughout history because they sound good and are very straightforward. For example: “Every Breath You Take” by The Police uses what could be called F Minor instead of Gmaj [sic] on their verse progression. When we hit our pattern of chords in the verse, it alternates between a G Maj and an F Minor.
sus chords can also be used to create new voicings when you find yourself writing something that is difficult or doesn’t sound good with what’s called “open voicing” (when one chord does not change). For example: we might have been thinking of using E Major for C Major but then realized that this would limit us because all we could do was play open strings; so instead we switched to Dsus which allowed us more possibilities on our fretboard!
lastly, they’re often heard as passing notes–we go from A major–>A minor–>Csus/Dmajor [sic] –>E maj–>Fmaj [sic] and they’re used to create a sense of unity between chords. The Advantages of Using Sus Chords A sus chord is any major or minor chord that has the third, fourth, fifth, and sixth notes suppressed (or “sus”) for one half measure before returning on the next beat. For example: if we were playing an Fmaj with our fingers on frets four through six–our index finger should be playing E-F-G-A; but then halfway through this bar it switches so that our middle finger plays C-D-E instead. The most common way to play these are by alternating your second finger from fret two up until you reach the original note again