6 Ways to Play Over SUS Chords

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This video sets some foundations for understanding and approaching Sus chords. Drop a line with any questions or comments!
0:15 Intro
:15 Sus Chord Theory
1:33 What scales to use on a Sus chord
2:21 ii-V approach
2:47 Sus voicing approach (1,4,5)
3:18 Triad pairs approach
3:58 Pentatonic scale approach
4:29 Outside vs. Inside approach
5:24 How to practice each approach
Video produced by Ben Meraz
Grammy-nominated trumpeter John Raymond is “steering jazz in the right direction” (Downbeat). He has released eight albums to critical acclaim, and has recorded or toured nationally and internationally with musicians such as Billy Hart, Orrin Evans, Cory Wong, S. Carey and more. John teaches in the Jazz Studies department at the Jacobs School of Music at Indiana University, is the author of “The Jazz Trumpet Routine," and is the creator and host of the podcast “The Trumpet Summit."
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[@trumpetrumept]

Powell Trumpet... Sounds Goooood❤

[@JeffWhiteMedia]

Excellent explanation! Thanks, John!

[@johnraymondmusic]

Happy to help!

[@vilo1264]

Thank you, great presentation of an interesting topic. Always thought, that sus chords have the most interesting sound, but was really puzzled by how to use them properly and in the context of a song. I’m still puzzled by it, but at least now I have some ideas on what to play over them :)

[@natenallmusic]

Beautiful John!

[@pichipachu]

Just great/concise!

[@GBUKMilo]

Nice, I appreciate the help. What do you use to"drone"the chords?

[@johnraymondmusic]

It's a Prophet 6 👍

[@andreasgilgenberg5588]

great!

[@johnraymondmusic]

Thanks for watching!

[@mistuhmiles]

Loving your videos. When you “sidestep” are there certain intervals you prefer or does it matter?

[@johnraymondmusic]

Personally, I think any "open" intervals work really well...2nds, 4ths, 5ths, etc. But it could be anything as long as it sounds good :)

[@MsHanniNanni]

nice video! could the outside play also work with bm penta and c#m penta-- resolving to cm penta?

[@johnraymondmusic]

Absolutely :)

[@MsHanniNanni]

@@johnraymondmusic Thanks 🙂

[@neocolors]

Very useful information and great playing! Thank you! Edit: On question: how is it different for you to play C dorian instead of F mixolydian over the F7sus? Is it about the root of the scale that makes you think about the notes in a different way? Or do you use a different chromatic passing tone in the bebop scale?

[@johnraymondmusic]

For me, a big part of the difference is the chord tones of the scale when you play C dorian instead of F mixolydian. With C dorian, your 1,3,5,7,9 are all the extensions of F7sus (C, Eb, G, Bb, D) and don't give away the third which makes it sound more "sus-y" than a mixolydian scale.

[@neocolors]

@@johnraymondmusic great answer! Thank you!!

[@johnraymondmusic]

@@neocolors Thanks for watching!

[@israelcosta980]

How about sus2?

[@johnraymondmusic]

Are you referring to a dominant sus 2 chord? To me, a more correct way to write this would be "9sus," however most accompanists would already have the 9th in the chord with their voicing if they see "7sus." If you're talking about a major sus 2 chord, well then that's an entirely different topic :)