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I had a recent online discussion with a chap who insists suspended chords cannot exist in isolation. It's the first I've heard of it, and it prompted this bit of writing. There's a few on here whose opinion I respect, it would be nice to have a discussion about this.
Tales of suspense - the haunting intro to Don’t Dream It’s Over
It’s a sign of musical genius that it can embody complex concepts in a throwaway handful of chords, leaving a wake of discussion over chord theory even before the verse has arrived.
Neil Finn’s gorgeous, Chorus-tinted intro to Crowded House’s 1986 hit Don’t Dream It’s Over is a case in point. The chords in question feature melodic movement over an Eb pedal, and are commonly termed suspensions: Ebsus2 (x68866), Eb7sus2 (x68666), Eb7sus4 (x68696). Given suspensions’ “hanging" quality, the atmosphere of the whole section is one of expectation, possibly even a touch of desperation, to find the resolution. But that resolution never comes.
Indeed the introduction of the 7th along with the suspended 2nd adds even more tension. Finally we have a 7sus4 chord, arguably even more unresolved than the rest - and then back to the first sus2. No 3rds, no change in the pedal note, no resolution, no escape from a delicate state of discombobulation. And then we do it all again. Even the first two chords of the verse, while mimicking a conventional I-vi cadence, still feature no 3rds; it’s not until the third chord, the IV major, that the key signature is hinted at, and then instantly thrown into confusion again with the use of the III major, eventually resolving back to the I by way of a passing vi in ambiguous sus2 form again.
Despite the suspenseful power of this progression, we must consider the assertion, held in some academic circles, that suspensions cannot be suspensions without resolution - that is, followed by a move to the root or the 3rd. Perhaps the origin of this idea is classical theory which describes a suspension as a continuation of one note of the previous chord of a cadence - the 5th or 7th of a I, for example, which then resolves to the 3rd or root of the IV. The consequence of such thinking would mean that none of the chords here could be thought of as suspensions, even though they sound suspended even without resolution. And their names would have to be changed, of course. Ebsus2 becomes something like Eb5add9, Eb7sus2 becomes Eb7/5add9, Eb7sus4 becomes Eb7/5add11. I will leave it to the reader to consider whether this convention is useful or simply adds confusion.
Musically, it is clear that suspensions in this case are arguably even more suspenseful when left unresolved. A resolution to the major 3rd would sound trite and saccharine-sweet. Theoretically, if whether a chord is a suspension or not depends upon its context, would mean 4ths could be paired with 3rds as sus4 chords - as long as the 4th disappears in the following chord. This would also break the convention that chords only have odd-numbered extensions unless the 4th or 2nd replaces the 3rd. As above, sus4s without 3rds couldn’t be sus4s if they aren’t followed by an obvious resolution - they would be 5th with added 9ths. Sus chords in isolation would expire; cease to be; they would be ex-chords. And what a shame it would be if songwriting experts were to have one less tool of suspense at their disposal.
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Comments
I must have been influenced by someone, I can only think it might be Van Halen.
The intro to Don't Dream it's Over is pure Magic.
I would suggest that if it's a 'sus' chord that is being resolved to the 3rd then it would make more sense to think of it as an appoggiatura? I don't really see why it can't be thought of as a standalone 'sus' chord if you don't resolve the 2nd or 4th to the 3rd.
*Edited to add, I love the bass line of this song, really nice one to play!
Originally, the word ‘suspension’ was given to a very specific effect - within a chord progression the majority of the chord would move from one chord to next, save for one note which would be held, ‘suspended’ for a moment, and only then join its comrades in the new chord.
So not only did the suspended note have to resolve, but also, and actually even more importantly, it had to originate from a previous chord. That’s why it was called a suspension. It wasn’t just hanging, it was left hanging.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
The guy is applying logic from one topic to another and coming up with the wrong result.
The topic is covered to death in Bach 4 part and 2 part harmony and A-Level music. This is a classic suspension through a chord progression. There must be a beginning, middle and end if you will. It's a characteristic and stylisation point of it's time. This suspension and resolution is crucial to get right, if you want to sound like a Bach 2 part or 4 part harmony. the suspension is setup, carries over and resolves.
The naming of chords is different, the sus replaces a 3rd with the 2 or 4, the tonality (major / minor) of the chord is suspended, the add 2, 9, 11, 13 etc should be in addition to a 3rd, meaning the chord retains it's tonality. In this context, the sus does not relate to the movement, but to the make up of the chord.
You can make this stuff as clever and complex as you like if you choose to over analyse and apply the wrong rules.
I've tried discussing this with a couple of guitarists - possibly not the most theoretical if guys - and neither seemed to know or care what was going on vocally.
First chord: Eb - the vocal implies Ebmaj7
Second chord: Cm - the vocal implies Cmadd9
Third chord: Ab - bit more going on here...vocal touches on the Bb note (a 9th) before ending on G (7th)...Abmaj7
The G note holds on a bit and is resolved by becoming the root of the fourth chord which is a G7 (this chord is borrowed from the C harmonic minor scale)
The vocal line doesn't deviate from Eb major.
https://youtu.be/bB7x638PhVM