El acorde Sus4
Lesson time: (2min 10sec)
Aprende cómo formar un acorde Sus4 a partir de un acorde G7 corriente en el piano.
Course preview
This lesson is part of the course Beginning Jazz Piano: vamps de dos acordes
Watch a preview of the full course below.
Lesson transcript:
Music Lesson: Understanding the C Major 7 and G7 SUS4 Chords
As well as this C major 7 chord played like this:
- Bill Evans plays a G7 chord, but he doesn't play it in the ordinary way, like this root position.
- In fact, the shape he uses is like that, but with the middle two notes moved down one.
Understanding the SUS4 Chord
This is called a SUS4 chord. The reason it's SUS4 is because it has the fourth in, which takes the place of the third. We no longer have a B.
- Normally, a chord with a fourth in like that would resolve, and the fourth would move down to the third.
- But when it doesn't do that, like this one, you call it a suspended fourth.
In fact, because it's also got an A in, which is the second or the ninth, you could call it G9SUS4.
Chords for Left Hand
The two chords that you're going to be playing in the left hand are:
- C major like this
- G7 like this
Additional Notes
Now, Bill Evans actually plays bass notes as well. This is his left hand, which I don't think he invented, by the way. There's a precedent for this.
- You may have heard it in other pieces of music.
- So I'm using pedal there so that we get the bass note ringing with the chord.
However, on the backing track, you've already got the bass line or the C and the G. They're already present.
Chord Progression
So all you have to do is play those chords.
- This is really just a perfect cadence: G7 to C major or C to G (1 to 5).
- Another two chord vamp.
Improvisation Over Chords
And Bill Evans plays over those two chords without changing the left hand at all for almost seven minutes. The right hand gets more and more atonal as the track progresses.
So do check it out. It's one of the tracks listed in the listening section at the end of this chapter.
About the instructor
Aclamado por la crítica, el pianista y compositor de jazz Tim Richards es uno de los educadores de jazz más experimentados de Gran Bretaña, y ha enseñado piano de forma privada durante más de 30 años, además de en el Morley College, el Goldsmiths College, la University of Surrey, Premises Studios y otros centros del Reino Unido y del extranjero. Ha producido numerosos títulos para Schott Music, entre ellos los superventas en dos volúmenes Exploring Jazz Piano, Blues, Boogie & Gospel Collection y el aclamado Improvising Blues Piano. También es coautor, junto con John Crawford, de Exploring Latin Piano y Brazilian Piano Collection.Más recientemente, Schott ha publicado Jazz, Latin & Modern Collection (15 piezas para piano solo), que reúne originales de Tim Richards junto a piezas de Duke Ellington y Thelonious Monk, y el estuche de dos volúmenes Beginning Jazz Piano (ahora un curso de MusicGurus en dos partes).“La verdadera alegría de la música de Tim… es que resulta a la vez enormemente didáctica y tremendamente divertida de tocar. Cualquiera con el más mínimo interés en aprender a tocar o a enseñar piano de jazz debería hacerse sin falta con una colección de los libros de Tim.” PianoDaoComo intérprete, Tim ha sido una presencia en la escena del jazz británico desde la década de 1980, tocando también el blues con leyendas del Reino Unido y de Estados Unidos como Otis Grand, Earl Green, Dana Gillespie, Larry Garner, Joe Louis Walker y Mojo Buford. Ha publicado más de una docena de álbumes como líder (con muchos de los mejores músicos de jazz de Londres, entre ellos Pete King, Gilad Atzmon, Tony Kofi, Jason Yarde, Seb Rochford, Ed Jones, Dick Pearce y muchos otros) y ha girado por toda Europa con formaciones que van del dúo al noneto. Su última grabación, el álbum ‘Telegraph Hill’ del sexteto Hextet, fue descrita en The Observer como "Una auténtica delicia de principio a fin". Puedes encontrar más información en su sitio web www.timrichards.ndo.co.uk read more