Is "minor suspended" a valid chord type? I noted some ideas for opposing lines of thinking here that I could come up with for both sides:
- Indicates a minor chord with its minor third raised up to a perfect fourth
- The third is being "assumed" or represented similarly to the perfect fifth commonly omitted from jazz chords
- Potentially useful for a suspended sound within a subtly minor context
- Contrasts with regular suspended chords, which would then be used for major- and dominant-leaning suspended sounds
- The absence of a third cannot itself fully define the quality of the chord; in context, many sus chords do have situational bias towards major or minor sounds
- Useful when listener hears the suspension as being over the minor third even though no third is physically present
- Chord labels should preserve at least some notion of perceived sound even if not required from the performer in execution
- Could also be useful for other situations
- Simply emphasizing a contextual detail of its use in the music
- Minor chord with its third suspended to its fourth would be fundamentally and practically the same as the established (major/dominant) suspended chord family
- "suspended" and "minor" qualities cannot be combined
- Suspended chords are neither major nor minor in quality and there is no reason that this should not be the case
- This would render chords like [C F G] ambiguous, potentially being defined as either major or minor unnecessarily
- If a chord truly is implying minor quality, its fourth should be labelled "added" 4th or 11th
- The existing sus chord quality and its representation do not actually carry a major or dominant implication, thus msus is unnecessary
- From a sight-reading perspective, "msus" obfuscates the notes to be played
- Existing system gives choice of emphasis: precise voicing description "sus" or perceived harmony label "m(add11)"
- Chord labels should reflect the sound created, not the sound perceived
One example of a potential theoretical "minor suspended" chord would be something like Bm7b5 E+7 Am7sus where the last chord contains no 3rd but is contextually assumed to be minor (surely following that chord with an A7 would be a bit more of a surprise compared to following it with Am7?). There might be other reasons to use this chord label. Or maybe not at all - maybe all these possibilities are simply too pedantic and only describe things for the sake of describing things.
To be absolutely clear on what I'm describing: in these scenarios, Bb minor suspended triads would be composed of
Bbmsus = [Bb Eb F]
and there would never be any Db played while this chord is sounding; however, the "minor" part of the chord label would have to then be justified somehow while also not ever containing the minor third.