How Suspended Chords and Transform Basic Progressions
Hey music makers! What happens when a chord refuses to declare itself as major or minor?
You get that lovely musical tension that artists like D'Angelo use to make a simple and repetitive chord progression deeply interesting. Suspended chords create these magical moments of anticipation, and they're surprisingly simple to understand and use in your own music.
Real Song. Real Progression.
💿 "Lady" by D'Angelo
The Break Down:
Key: D# Phyrigian
Roman numerals: i11 → i9 → iv9 → i7 → IIsus2(#11)…
Then looping back to the i chord.
This progression is used for the verse and chorus.
Key translation: D#m11 → D#m9 → G#m9 → D#m7 → Emaj7sus2(#11)
Why it works: D'Angelo's Lady showcases how a single suspended chord can transform a simple minor loop into something hypnotic and captivating.
The progression spends most of its time alternating between the i and iv chords with smooth extensions (9ths and 11ths) that contribute to the jazz-inspired neo-soul style. This is the minor key version of the popular I-IV power progression.
But the magic moment comes with that Emaj7sus2(#11) chord (where the 3rd is replaced by the 2nd while keeping the major 7th and adding the #11).
This suspended chord creates tension and mystery right before returning to the i chord. It's the engine that makes the entire loop feel fresh with each repetition.
If all these numbers like 2, 7, #11 sound confusing to you, hit reply to let me know, and I'll do a future issue breaking down chord tones and extensions.
Part of why this works so smoothly is the voice leading how individual notes move from chord to chord.
Notice how some notes stay the same between the D#m7 and Emaj7sus2(#11) chords (like the note D#), while others move just a whole-step (like F# to G#). This creates a natural flow that guides the ear through the progression.
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🧠 Term of the Week: Suspended Chords
A suspended chord is a chord where the third (the note that makes a chord major or minor) is replaced with either the second (sus2) or fourth (sus4) note of the scale.
This creates a sound that's neither clearly major nor minor, it's ambiguous and open.
There are a few common types:
Sus2 chord (1-2-5): Replacing the third with the second creates an airy, open sound with a hint of mystery. In C, that's C-D-G.
Sus4 chord (1-4-5): Replacing the third with the fourth creates tension that typically wants to resolve. In C, that's C-F-G.
Extended sus chords: Adding 7ths, 9ths, or other extensions for even richer colors.
Beyond these harmonic uses, suspended chords are fantastic rhythm tools.
Try alternating between a regular chord and its suspended version (like D to Dsus4 and back) within the same measure.
This creates movement and interest even when the chord progression itself isn't changing, a technique heard in countless well-crafted songs that makes a simple progression feel alive and breathing.
🎯 Challenge of the Week
Take a shot at using sus chords
Take a simple two-chord progression you already know.
Now add a sus2 chord right before returning to the first chord. Notice how it creates a sense of anticipation and forward motion, making even the simplest loop feel more dynamic. Ex. using a I - IV loop, add the Vsus4 from time to time before returning to the I. In the key of C try C - F - Gsus4.
Level up: Try both sus2 and sus4 versions in the same position, or experiment with extended sus chords (sus2 with a 7th or 9th) for richer colors!
Create a G9sus4 by playing an F major chord with G in the bass.
Don't worry if this seems advanced - the basic concept is what matters.
The beauty of suspended chords lies in what they don't declare.
By removing the third, that note that definitively makes a chord major or minor, suspended chords create space for emotional nuance. This ambiguity is what makes them so effective in artists like D'Angelo's work.
They function less as destinations and more as pathways, creating forward motion through tension.
The next time your progression feels static, try adding a suspended chord as a transition.
You might discover that the most powerful moments in music aren't when things are clearly defined, but when they're deliberately left open to interpretation.
✉️ That's a wrap
What's your favorite song that uses suspended chords in a memorable way? And does it lean more on sus2, sus4, or both?
Message me at mel@melvindarrell.com and let me know. I read every response.
See you next week.
Melvin ✌🏾
