45. Suspended Chords


A suspension is musical terms is true to the word’s definition—in this case temporarily interrupted, “hanging” for a very short period of time. A suspended chord is simply a major or minor chord whose 3rd (in the case of the major chord) or minor 3rd (in the case of the minor chord) is replaced by either the 2nd of the scale or the 4th.  Therefore, the 2 types of suspended chords are called sus2 and sus4. Here is an example of their construction, using the key (scale) of C major:

C major scale         1    2    3    4    5    6    7    8

C    D    E    F    G    A    B    C

1   3   5

C  major     C   E   G


C minor    1   b3   5

C   Eb  G


Csus 2       1    2    5

C    D   G


Csus4       1   4   5

C   F   G

The most common use of suspended chords is to play the sus4, sus2 and then the major or minor chord, depending musical context.  When the suspended chord is played, followed by the major or minor chord, it is referred to as suspension/resolution.  For popular guitarists, the progression of sus4—major chord—sus2—major chord has been used so much it is basically a musical cliché, especially in the key of D:


Note how this same sequence in a different key still sounds familiar, but less so.

Same sequence in C:


Although variations on suspension—resolutions are by far the most common, these chords are also valuable as chord substitutes. Here is an example of a sus4 chord in a progression, but not as a traditional suspension/resolution.

Note the good syncopation created at the chord changes, especially the move to G in the 2nd and 6th measures—on the “weak” beat.

Progression:    em    D     G    Asus4



When a sus4 chord is used and does not resolve, the suspension is felt strongly. The sus2, however, does not carry the same ‘weight’ suspension-wise. Here is a sus2 in a progression:

G    am   Csus2    D



In this case, the Csus2 is simply a substitute for C, and sounds very similar. This is true of sus2 in general. Another interesting difference between sus2 and sus4 chords in when substituting for the IV chord, as in the example above. Again, if we see this progression as:

I      ii    IV    V

G   am   C   D

The C is the IV chord in the key (G major). Since the 4th note of the C scale is F, the construction of the Csus4 chord is  C  F  G.  Note that F is not in the G major scale, F# is:

G   A   B   C   D   E   F#   G

Because of this, the use of Csus4 in the same progression sounds like this:

G   am   Csus4   D

Note how the csus4 sounds a little ‘off’. This is due to the F, which is not in the key. Many players will employ the b5 (in this case Gb) in the following manner:


Since Gb and F# are the same note, this is simply using a scale tone, the 7th of the G scale—F#–around the C chord. In the Csus2 (C  D  G) the 2nd, D, is a scale tone in G so it always ‘fits’.

Learn to use suspensions as much as you can—they are very expressive. Especially, do not forget their good sounds around minor chords. The same extremely common D major suspension sequence is less used, but to great effect, around Dm:

 Suspension can be very refreshing and compelling when used well.

©2012 Jim Greenfield