Sus2, sus4, 027, 1-2-5?? These are all ways of expressing the same thing; namely a 3-note, non-triadic configuration - or trichord - containing the intervals of a Major 2nd and a Perfect 4th in its prime form (root position).
Exploring these configurations and using them in your melodic lines - both improvised and composed - can help take one "out of the ordinary path", to quote John Coltrane, as he referred to his own then revolutionary use of the Descending Major 3rds Cycle (aka "Coltrane Changes"), which gave birth to a number of his challenging compositions, the best known being "Giant Steps".
Using "Giant Steps" chord changes, I composed a one-chorus (16-bar) etude, featuring the aforementioned trichord as a basis for the solo melodic line.
Exploring these configurations and using them in your melodic lines - both improvised and composed - can help take one "out of the ordinary path", to quote John Coltrane, as he referred to his own then revolutionary use of the Descending Major 3rds Cycle (aka "Coltrane Changes"), which gave birth to a number of his challenging compositions, the best known being "Giant Steps".
Using "Giant Steps" chord changes, I composed a one-chorus (16-bar) etude, featuring the aforementioned trichord as a basis for the solo melodic line.
Below, in concert key, is the full 16-bars (The free pdf download link, including Bb and Eb versions, is below).
As with the comping piano voicings (not shown), on both the Major and Dominant 7th chords, the Maj 3rd is mostly avoided in the melody line. The whole idea of a "sus2 or sus4" chord is to "delay or suspend" resolution, usually to a Major tonality. This results in a subtle, desired "tonal ambiguity".
However, besides Major Scale steps 1-2-5 (C-D-G in C Maj), prime form 027 trichords can be formed from:
Major Scale steps 2-3-6 (D-E-A), 4-5-1 (F-G-C), 5-6-2(9) (G-A-D), 6-7-3 (A-B-E), so that, depending on the chord involved, a Maj 3rd can pop up melodically within these trichords and their inversions. This happens here in bars #3, 5, 9, 10, 11 & 15. They all consist of a Maj 2nd and a Perfect 4th in prime form.
An 027 trichord can also represent an altered dominant, as is the case in the second half of bar #12, where the trichord G-A-D spell the b9-#9-b13 of F#7alt. This trichord is derived from scale steps 1-2-5 of G Melodic Minor. In bar #8, a descending 027 (first inversion), derived from scale steps 5-6-9 of B (or would you prefer Cb) Melodic Minor, sound the b13-#9-b7 of Bb7, resolving V7-I to Eb in bar #9.
As with the comping piano voicings (not shown), on both the Major and Dominant 7th chords, the Maj 3rd is mostly avoided in the melody line. The whole idea of a "sus2 or sus4" chord is to "delay or suspend" resolution, usually to a Major tonality. This results in a subtle, desired "tonal ambiguity".
However, besides Major Scale steps 1-2-5 (C-D-G in C Maj), prime form 027 trichords can be formed from:
Major Scale steps 2-3-6 (D-E-A), 4-5-1 (F-G-C), 5-6-2(9) (G-A-D), 6-7-3 (A-B-E), so that, depending on the chord involved, a Maj 3rd can pop up melodically within these trichords and their inversions. This happens here in bars #3, 5, 9, 10, 11 & 15. They all consist of a Maj 2nd and a Perfect 4th in prime form.
An 027 trichord can also represent an altered dominant, as is the case in the second half of bar #12, where the trichord G-A-D spell the b9-#9-b13 of F#7alt. This trichord is derived from scale steps 1-2-5 of G Melodic Minor. In bar #8, a descending 027 (first inversion), derived from scale steps 5-6-9 of B (or would you prefer Cb) Melodic Minor, sound the b13-#9-b7 of Bb7, resolving V7-I to Eb in bar #9.
The vast majority of the melodic trichords in this etude are sus4 (Maj scale steps 1-4-5, which are 027s in second rotation). This was not necessarily by design, but the parallel nature of descending in whole steps works well against the Descending Maj 3rds Cycle. Coltrane's tune "Satellite" itself uses a bass line descending in whole steps.
Try experimenting by using sus2s on the Major chords and sus4s on the Dominants. For example, changing the E on the second beat of bar #1 to a C#, changes the trichord from a sus4 to a sus2. This effect per measure is subtle, as well, and creates an ascending min 3rd effect as is indicated in the chord changes. Likewise, changing the second eighth note in bar #2 from C to A, creates the same effect. Either way it works.
Try experimenting by using sus2s on the Major chords and sus4s on the Dominants. For example, changing the E on the second beat of bar #1 to a C#, changes the trichord from a sus4 to a sus2. This effect per measure is subtle, as well, and creates an ascending min 3rd effect as is indicated in the chord changes. Likewise, changing the second eighth note in bar #2 from C to A, creates the same effect. Either way it works.
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Even if playing the bleep out of "Giant Steps" isn't necessarily your goal, a reasonable command of sus2 & sus4 configurations (027 trichords), as well as the Minor 3rds Cycles will greatly enhance your improviser's vocabulary and add colors to your palette.
B. Stern
B. Stern
Here's your chance to take some GIANT STEPS as an Improviser and create your own amazing musical lines! The following Shortbooks™ break it down and show you how. Add them to your library!
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