I've realized Sus2 chords are also Sus4 chords starting at different root notes in the chord. For example Sus4 interval are 1,4,5. Take Fsus4 it contains the notes F(1), A#(4), C(5), If you take the root at A# it becomes a Sus2 chord. It contains A#(1),C(2),F(5). Both these chord contain the same exact notes but start at different root. Therefore a Sus4 chord is a Sus2 chord making the 4 (A#) in the Sus4 chord as the root.

That's why I prefer to work with one or the other....

Manx

So,

It's just an inversion. Cool.

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never realized that, thanks.

Another thing I realized is that 5 chords (1,5(7 half steps)) are Perfect fourth chords with no 5. For example F5 contains the notes (1(F), 5(C)). But if you take the note of the chord as C it becomes a perfect fourth with no 5 (1(C),P4(F)). I realized this when playing different variatins of 5 chords and some harmonzation parts of Cradle of Filth. When your harmonizing 5 your harmonizing a fourth at the same time.

Yup, it's where the phrase "a 4th up is a 5th down" comes from. You can do this with any interval really. Here's a small table...

The first column is before inversion, and the second is after inversion. There's another easy way to figure out intervals as well. Like if I ask someone what's a m7 above C, you could think of it this way. A m7 above C is like a 2 below C but an octave higher. Two-steps below C is a Bb(A#).

thats called an inversion

I thought sus2's were like this:

G[0
D[3
A[3
E[1

an add9 with the root's octave.
And sus4's were just perfect 4th dyads or something similar.

Please correct me, if that's wrong.

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C wouldn't be the second of A# it would theorhetically be the third, you would have to sharpen the B for it to be the second. Note names determine much with chords. . . F major scale contains no A#'s, so an F Sus4 chord, would be F(1)-Bb(4)-C(5), the inversion would become Bb(1)-C(2)-F(5). Sorry kind of late for me to post this and I didn't read far enough to see if someone else already had. Key Signature of F contains one flat though and that is basic theory. Notice the lydian mode which is formed on F in the key of C major contains one naturally sharped interval being the B. So to formulate a major on F you would flatten the naturally augmented interval so that you could create a perfect fourth, rather than an augmented fourth.

Note: All inversion add up to the number 9, Perfects maintain perfection. Major become minor, minor becomes Major, Augmented becomes diminished and diminished becomes Augmented. FE: the inversion of a M2 is a m7, the inversion of a P4 is a P5, the inversion of a M3 is a m6 the inversion of an Octave is a unison(P8 is a P1), that should get you on the right track although there was a post awhile back on inversion and intervals explaining this before.

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