Keyboard fingering charts - a collection of different chords

bandcoach

Zukatoku - Mod Scientist
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Quick note about the minor[sup]#5[/sup] triad
This triad can be thought of as Minor with raised 5th (as in the sequence Am-Am[sup]#5[/sup]-Am[sup]6[/sup]-Am[sup]#5[/sup]-Am-etc (Think James Bond)

[mp3]http://www.bandcoach.org/fp/audio/bondMinors.mp3[/mp3]

or

it can be thought of as a major chord in first inversion, i.e. with the naming note taken from the bottom and placed elsewhere in the voicing. If we think of this chord in this way, then the above sequence becomes Am-F[sub]/A[/sub]-Am[sup]6[/sup]-F[sub]/A[/sub]-Am
 
Does a Sus2 chord always use a note a whole step ahead of the naming note as the tonic note of the chord? Ive never heard anything about that before in my own personal research. I always thought it was just the middle note moved from 3 to 2.
 
Does a Sus2 chord always use a note a whole step ahead of the naming note as the tonic note of the chord? Ive never heard anything about that before in my own personal research. I always thought it was just the middle note moved from 3 to 2.

there is a small movement in jazz circles that says the sus2 is a replacement for chord tone 3

however, my research suggests that sus2 is actually another name for add9, also known as the Mu chord that Steely Dan used for a lot of their songs prior to 1977.

additionally the concept of suspensions in harmonic writing such as counterpoint and fugue is that they resolve downwards never up, so a sus2 must resolve to 1

if we take two melodic lines that are moving the and using suspensions, the sus 2 occurs as the lower note is delayed moving downwards. When it resolves down the interval itself is a 3rd but the target note is the root of that 3rd; it is my opinion that this is where the concept of sus2 resolving to 3 arises taking a melodic concept and applying it to a chord building strategy instead
 
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