Can A Third Not Perform Its Function As A Modal?

Normally, in sus4 chords the fourth should replace the major third, but it is possible to add it in the upper voices as a tension (10).

The color of the chord remains major nonetheless; there is a tendency to perceive a 7sus4 as a dominant chord; perhaps with some trickery, such as alternating, for example, a C7sus4 with a Cm7, it could be heard as minor. Then again, maybe it's subjective: I feel sus4 chords leaning more towards major, even due to contextualization. There is a curious case: the 13sus4(b9) chord implies the use of a Dorian scale with a minor second (the ninth, if you prefer). Curious because this chord induces a resolution to a major [chord], like a normal dominant seventh chord; perhaps because in the end the minor third (which, moreover, only appears in the relative scale and not in the chord) results in being less decisive than the thirteenth. Well...

But doesn't the SUS chord replace the third?

I mean, what is the "tension (10)" case?

Try something like this:

C, (G), Bb, D, F, A, C, E

Practically 10 is the tenth

@ Martina

in short, did you like this agreement or did you not like it?

In my opinion, it also depends on how much space is between the C and the E; if they are too close, perhaps it's too invasive compared to the SUS... or am I wrong?

DrJellyfish wrote:

@ Martina

in short, did you like this chord or did you not like it?

I like it more with the minor ninth...the reb

Interesting discourse

DrJellyfish wrote:

did you like this chord or did you not like it?

But in your opinion, is it possible to appreciate even a single chord? Is it not necessary for there to be at least a minimum succession to establish its "identity"?

Well, it was also a bit of a joke. However, a chord arranged in a particular way can be appreciable, more for the voicing than for the chord itself.