7TH CHORD UPPER-STRUCTURES & SUBSTITUTIONS FOR DOMINANT CHORDS:
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PART II: Sus7 Chords
This is the long-awaited Part II, where we will take a look at those chords that may still be used either as Upper-Structures or as Substitutions for a C7, but particularly conveying the sus7 sound.
To achieve the sus7 flavor we will need to include the note F (the 4th, aka the suspension) in our upper-structure.
A quick comment: it is important to understand that we cannot have both the 3rd AND the 4th of C7 in the upper-structure if we want to make the resulting chord a true sus7 chord!!! If we had both the notes E and F, the chord would then be a C7(11) which is not a real sus chord, nor a particularly praised sound... This is why I omitted FMaj7 over C7 for example-- even though it is diatonic to F Major.
I will devote a whole essay on the sus chord at some point, but for now, here is our list of arpeggios to be played over a Csus7:
bII: DbMaj7, DbMaj7(b5), Db+Maj7
II: Dm7, Dm7(b5), DmMaj7, DdimMaj7
IV: F7, F+7, Fm7, Fsus7
bV: F#mMaj7, F#dimMaj7, F#Maj7, F#Maj7(b5), F#+Maj7
V: Gm7, Gm7(b5), Gsus7
VI: A+7, A+Maj7
bVII: Bb7, Bbm7, BbmMaj7, BbMaj7, Bbsus7
There are some really interesting sounds listed here, but I agree that some of them can take a while to get accustomed to... you may want to start with the less altered sus7 chords first. For instance, Gm7 over C:
Gm7/C = Csus7(9)
Here is another very consonant sus chord:
BbMaj7/C = Csus7(9 13)
A good way to sort through all of the Upper-Structures and Substitutions listed here would be to focus on those that contain both the P4 and the m7. How many can you find?
As always, I would be more than happy to hear back from you: so if you have any comments or questions, please do not hesitate to contact me!
and here are a few more articles I wrote on Sus Chords:
Sus Chords (Part I)
Sus Chords (Part II)
Pentatonics For The Sus7 Chord
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