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Author
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Topic: SUS2" chords in E9 ?
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John Lockney
Member From: New Market, Maryland, USA
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posted 25 December 2005 09:34 AM
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It seems like B pedal down and squeezing in A pedal is the E9 sound. Instant Country. B pedal only gives you 1,2,5 a SUS2 chord, right ? Squeezing-in A pedal gives you the major chord 1,3,5. I have not seen "SUS2" chords listed in the E9 chord charts, instructional material, or on the Forum. Is it because it is a passing chord and not part of the chord progression, just too simple to mention ? ------------------------------------------
Update: I found passing mention of SUS2 and SUS4 chords under "Tablature."
http://steelguitarforum.com/Forum8/HTML/000343.html And, honestly, the "observation" about SUS2 resolving to major being part of the PSG sound came from a video about how to mimic pedal steel sounds on a 6-string.
[This message was edited by John Lockney on 25 December 2005 at 09:40 AM.] |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 25 December 2005 10:41 AM
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The "sus2" chord is sometimes referred to as "add9". If the 3rd is deliberately omitted for ambiguity, it's sometimes call "2" as in "A2".
The modern voicing of these chords is wide: 1, 5, 9. You hear it a lot in Bill Frisell's music (with Greg Leitz on steel). These chords are all over the place on the pedal steel. For example:
B2: third pedal, strings 10, 7, 5
D2: second pedal, strings 9, 6, 4
E2: no pedals, strings 8, 5, 1
F#2: first pedal, strings 7, 5, 3
It's a very cool, open sound.------------------
 Bobby Lee (a.k.a. b0b) - email: quasar@b0b.com - gigs - CDs, Open Hearts
Williams D-12 E9, C6add9, Sierra Olympic S-12 (F Diatonic)
Sierra Laptop S-8 (E6add9), Fender Stringmaster D-8 (E13, C6 or A6) My Blog |
ed packard
Member From: Show Low AZ
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posted 25 December 2005 12:24 PM
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with no changes activated, here are some s chords as found on the E9 neck (10 string extended to 14). I had to leave some chords out as they won't fit the format. NC KEY OF CHORD
STRING FRET 0 E DESIGN'
# NOTES INTER' CLASSIC 2 TONE 3 TONE 4 TONE 5 TONE
1 F#-Gb 2-9 II
2 D#-Eb 7-##13 VII
3 G#-Ab 3-b11 III
4 E 1-#7 I Maj(5)
5 B 5-bb13 V s4(3,5) 6s4(3,5)
6 G#-Ab 3-b11 III m(5) m#5 m#5*
7 F#-Gb 2-9 II s2(3,5) s2s4(3,5)
8 E 1-#7 I s2(3,5) s2(5) s2 s2*
9 D b7-#13 bVII s2(3,5) s2(5) s2b5 6s2b5
10 B 5-bb13 V m(5) ms4(5) ms4 m6s4
11 E 1-#7 I (3) (3) 7*(3) 9*(3)
12 D b7-#13 bVII s2(3,5) 6s2(3,5)
13 B 5-bb13 V m(5) ms4(5) ms4*(5)
14 E 1-#7 I (3) (3) 7*(3)
I suppose that one could debate constructions like ms4 etc. (x) means that X is not in the construction; * means that the octave note is included in the chord name. [This message was edited by ed packard on 25 December 2005 at 12:37 PM.]
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John Lockney
Member From: New Market, Maryland, USA
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posted 25 December 2005 07:55 PM
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Thanks for the info. I printed this to check it out on the guitar.
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Charlie McDonald
Member From: Lubbock, Texas, USA
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posted 26 December 2005 05:51 AM
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quote:
Is it because it is a passing chord and not part of the chord progression, just too simple to mention ?
I guess this is my simplified view.If it's the lower note in a triad composed of fourths, it's suspended, to me.
If the ninth is the top note, I don't necessarily feel the need to resolve it to the 10th. |
Roy Ayres
Member From: Starke, Florida, USA
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posted 26 December 2005 09:10 AM
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Punch in any "add 9" chord in BIAB and it will show up on screen as a "2" chord. Obviously, the 2nd tone of the scale is the 9th an octave lower, but I don't think BIAB actually constructs a sus 2 chord. It sounds like a true "add 9" (1,3,5,9) so I suspect a BIAB chord designation like "C2" is just BIAB notation for C Major add 9. Anyone agree?(After all, what difference does an octave make among friends?) ------------------
Visit my Web Site at RoysFootprints.com
Browse my Photo Album and be sure to sign my Guest Book. |
Bobby Lee
Sysop From: Cloverdale, North California, USA
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posted 26 December 2005 09:23 AM
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Roy's right. The BIAB "2" chord is a major chord with a ninth added. I'm not sure how you get a sus2 without the third in BIAB, or a minor add9.------------------
Bobby Lee (a.k.a. b0b) - email: quasar@b0b.com - gigs - CDs, Open Hearts
Williams D-12 E9, C6add9, Sierra Olympic S-12 (F Diatonic)
Sierra Laptop S-8 (E6add9), Fender Stringmaster D-8 (E13, C6 or A6) My Blog |
ed packard
Member From: Show Low AZ
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posted 26 December 2005 11:31 AM
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John...Since I had my Program fired up, I thought that I would add the chords for the EMMONS E9 setup that contain a 2. These have been named s2 even though they contain a ROOT.Some "changes" are physically impossible (at least for me) in the EMMONS setup as used here...but they could be reassigned if something good can be had.
FRET 0 SCALE CHORD
CHANGE STRING NOTE DEG INTERV' TYPE
L^ 6 G#-Ab III 1,2,#5,1 s2 #5(3)
L 6 G#-Ab III 1,2,#5,1 s2 #5(3)
LL>P1P2 5 C#-Db VI 1,2,#5,2 s2 #5(3)
L>P1P2 R< 5 C#-Db VI 1,2,#5,b3 s2 #5(3)
R< 8 E I 1,2,1,5
R 8 E I 1,2,1,5
P3R< 8 E I 1,2,1,6 6s2(5)
1/2P1 8 E I 1,2,3,#5 s2#5
L^P1 8 E I 1,2,3,#5 s2#5
L^P3 8 E I 1,2,3,#5 s2#5
L^P3 8 E I 1,2,3,#5 s2#5
P3R< 9 D bVII 1,2,3,3 s2(5)
R< 9 D bVII 1,2,3,3 s2(5)
P1P2R< 9 D bVII 1,2,3,4 s2(5)
1/2R> 8 E I 1,2,3,5 s2
NC 8 E I 1,2,3,5 s2
R> 8 E I 1,2,3,5 s2
1/2P1P2 9 D bVII 1,2,3,5 s2
1/2P1P2P3 9 D bVII 1,2,3,5 s2
L^P1P2 9 D bVII 1,2,3,5 s2
L^P2 9 D bVII 1,2,3,5 s2
LP1P2 9 D bVII 1,2,3,5 s2
LP1P2 9 D bVII 1,2,3,5 s2
P1P2 9 D bVII 1,2,3,5 s2
P1P2P3 9 D bVII 1,2,3,5 s2
P2 9 D bVII 1,2,3,5 s2
P2P3 9 D bVII 1,2,3,5 s2
L^L> 7 F#-Gb II 1,2,3,6 6s2(5)
P1 8 E I 1,2,3,6 6s2(5)
P1P3 8 E I 1,2,3,6 6s2(5)
P3 8 E I 1,2,3,6 6s2(5)
P31/2R> 8 E I 1,2,3,6 6s2(5)
P3R> 8 E I 1,2,3,6 6s2(5)
LL^ 8 E I 1,2,3,b5 s2b5
L 8 E I 1,2,3,b5 s2b5
1/2P1 9 D bVII 1,2,3,b5 s2b5
1/2R> 9 D bVII 1,2,3,b5 s2b5
L^ 9 D bVII 1,2,3,b5 s2b5
L^P1 9 D bVII 1,2,3,b5 s2b5
L^P3 9 D bVII 1,2,3,b5 s2b5
L^P3 9 D bVII 1,2,3,b5 s2b5
L 9 D bVII 1,2,3,b5 s2b5
NC 9 D bVII 1,2,3,b5 s2b5
P1 9 D bVII 1,2,3,b5 s2b5
P1P3 9 D bVII 1,2,3,b5 s2b5
P3 9 D bVII 1,2,3,b5 s2b5
P31/2R> 9 D bVII 1,2,3,b5 s2b5
1/2P1 10 C #V 1,2,3,b5 s2b5
1/2P1P2 10 C #V 1,2,3,b5 s2b5
1/2P1P2P3 10 C #V 1,2,3,b5 s2b5
L^P1 10 C #V 1,2,3,b5 s2b5
L^P1P2 10 C #V 1,2,3,b5 s2b5
LP1P2 10 C #V 1,2,3,b5 s2b5
L^ 7 F#-Gb II 1,2,3,b7 7s2(5)
L 7 F#-Gb II 1,2,3,b7 7s2(5)
1/2P1P2 8 E I 1,2,4,#5 s2s4#5(3)
L^P1P2 8 E I 1,2,4,#5 s2s4#5(3)
LP1P2 8 E I 1,2,4,#5 s2s4#5(3)
P2 8 E I 1,2,4,5 s2s4(3)
P3R> 10 B V 1,2,4,5 s2s4(3)
R 10 B V 1,2,4,5 s2s4(3)
R> 10 B V 1,2,4,5 s2s4(3)
L> 7 F#-Gb II 1,2,4,6 6s2s4(3,5)
1/2P1P2P3 8 E I 1,2,4,6 6s2s4(3,5)
LP1P2 8 E I 1,2,4,6 6s2s4(3,5)
P1P2 8 E I 1,2,4,6 6s2s4(3,5)
P1P2P3 8 E I 1,2,4,6 6s2s4(3,5)
P1P2R> 8 E I 1,2,4,6 6s2s4(3,5)
P2P3 8 E I 1,2,4,6 6s2s4(3,5)
L< 7 F#-Gb II 1,2,4,7 M7s2s4(3,5)
L 7 F#-Gb II 1,2,4,7 M7s2s4(3,5)
L^P2 8 E I 1,2,4,b5 s2s4b5
L1/2R> 7 F#-Gb II 1,2,4,b7 7s2s4(3,5)
NC 7 F#-Gb II 1,2,4,b7 7s2s4(3,5)
R> 7 F#-Gb II 1,2,4,b7 7s2s4(3,5,)
L^L> 6 G#-Ab III 1,2,5,1 s2*(3)
P2 6 A IV 1,2,5,1 s2*(3)
LP1P3 7 F#-Gb II 1,2,5,1 s2*(3)
P3 7 F#-Gb II 1,2,5,1 s2*(3)
P31/2R> 7 F#-Gb II 1,2,5,1 s2*(3)
P3R> 7 F#-Gb II 1,2,5,1 s2*(3)
L>P1 5 C#-Db VI 1,2,5,2 s2(3)
L>P1 7 F#-Gb II 1,2,5,6 6s2(3, )
LP1 7 F#-Gb II 1,2,5,b7 7s2(3)
LP1P2R< 8 E I 1,2,b3,6 m 6s2(5)
L^L>P1P2 10 C #V 1,2,b3,b5 mb5s2
L>1/2P1 10 C #V 1,2,b3,b5 mb5s2
L>P2 6 A IV 1,2,b5,1 s2b5*(3)
L^P3 7 F#-Gb II 1,2,b5,1 s2b5*(3)
L^P3 7 F#-Gb II 1,2,b5,1 s2b5*(3)
L 10 B V 1,2,b5,5 s2 b5(3)
L>1/2P1 7 F#-Gb II 1,2,b5,6 6s2b5(3)
L^L>P3 7 F#-Gb II 1,2,b5,7 M7s2b5(3)
1/2P1 7 F#-Gb II 1,2,b5,b7 7s2b5(3)
L^P1 7 F#-Gb II 1,2,b5,b7 M7s2 b5(3)
L^P3 4 F#-Gb II 6s2(3,5)
L^P3 4 F#-Gb II 6s2(3,5)
LP1P3 4 F#-Gb II 6s2(3,5)
P3 4 F#-Gb II 6s2(3,5)
P3R< 4 F#-Gb II s2(3,5)
P31/2R> 4 F#-Gb II s2 #5(3)
P3R> 4 F#-Gb II s2(3)
Sorry that the list is a bit sloppy because of column width issues, but I am sure that you can find the meaning. I suspect that to be called a "sus" chord requires a context. It would be a "sus" chord if it is going somewhere...like 2 to ROOT, or 4 to 3. The chord with a 2 in it might be just a chord with a 2 in it without context. With context justifying "sus", it would seem that the root would be left out in the s2, and the 3 left out in the s4 chords.?????? For the purpose at hand, I used s re 2 & 4 intervals, with or without the R or 3. I am afraid that I am on the 2=2, 9=9, 4=4, & 11=11 side.[This message was edited by ed packard on 26 December 2005 at 11:46 AM.] | |
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