Suspended Chords & Quartal Voicings

Welcome to this lesson on suspended chords and quartal harmony. In this session, we explore the unique sound of sus chords, their application in jazz, and how they contribute to a modern and open-ended harmonic palette. Suspended chords are neither major nor minor, which makes them incredibly versatile and useful in jazz improvisation and composition.

Understanding Suspended Chords

A suspended chord replaces the 3rd of a traditional chord with either the 2nd (sus2) or 4th (sus4). This creates a floating, unresolved sound that adds tension and color to harmony. In jazz, we typically use 7sus chords, where a dominant 7th is added to the sus4 structure.

For example, C7sus consists of:

• Root: C
• 4th: F (instead of the 3rd, E)
• 5th: G
• b7th: Bb

When inverted, these structures take on quartal harmony characteristics, stacking perfect 4ths instead of traditional tertian harmony (built in 3rds).

Quartal Voicings & Their Role in Jazz

Quartal voicings are built by stacking fourths, such as:

• C7sus (F-G-C) is a quartal voicing.
• If we move the bottom note F down an octave (G-C-F), we get a quartal chord structure.

Quartal voicings became popular in modal jazz, particularly in the 1960s and 70s. Herbie Hancock, McCoy Tyner, and Chick Corea frequently used them to create open, harmonically ambiguous sounds that fit well over modal progressions.

The Versatility of Suspended Chords

Suspended chords have a unique characteristic: they don’t resolve to a major or minor sound immediately. This gives them flexibility in both comping and improvisation.

• Floating Harmony: Because the 3rd is missing, a suspended chord can transition smoothly into major or minor tonalities.
• Chromatic Movement: You can shift from any suspended chord to another chromatically without creating strong dissonance.
• Altered Resolutions: A common progression is resolving C7sus to C7, allowing a smooth transition into Fmaj7 or F-7.

In Latin jazz, fusion, and jazz-rock, suspended chords are frequently used for vamping and groove-based sections, as they allow melodic freedom.

Application in Jazz Standards

Herbie Hancock’s "Maiden Voyage"

"Maiden Voyage" is a classic example of a tune built almost entirely on suspended chords. The structure revolves around D7sus to F7sus, creating an open and hypnotic harmonic landscape.

• The quartal voicings in the left hand establish a floating harmonic base.
• The melody sits comfortably over these voicings without strong harmonic resolution.
• The syncopated rhythmic groove makes it feel suspended in time.

João Donato’s "Aie"

"Aie" is another example of a tune incorporating suspended chords, blending them with Brazilian rhythms. In this tune, F7sus and Bb7sus create a smooth, open-ended harmonic structure, allowing for modal improvisation and fluid melodic phrasing.

Practice Tips

1. Learn the Basic Shapes: Start with simple 7sus chords in root position (C7sus, F7sus, etc.), then explore inversions and quartal voicings.
2. Experiment with Left-Hand Voicings: Try playing quartal stacks (such as G-C-F for C7sus) in the left hand while improvising with the right.
3. Use Suspended Chords in Progressions: Replace regular dominant 7th chords with 7sus chords in your 2-5-1 progressions (e.g., D-7 to G7sus to Cmaj7).
4. Improvise Using Major & Dorian Modes: Over C7sus, try playing B-flat major (Bb-C-D-Eb-F-G-A) or G Dorian (G-A-Bb-C-D-E-F).
5. Apply to Repertoire: Play through "Maiden Voyage" and "Aie," focusing on the groove and harmonic movement of suspended chords.

By integrating suspended chords and quartal voicings into your playing, you’ll develop a modern, open harmonic approach that is essential for jazz improvisation. Experiment with these techniques and listen to recordings of jazz legends to hear them in action!