# How would you write an inversion of a suspended chord with functional chord symbols? [duplicate]

Ex.

Would the second chord be written as I7 - 6 or I62 - 1?

• Which do you think is correct? Commented Dec 7, 2021 at 22:44
• @AndrewChin My first idea was to label it I7 - 6, but I7 is also a dominant 7th chord. The other option doesn't show the intervals between the upper 3 notes and the bass. Commented Dec 7, 2021 at 23:38
• Technically, a I can’t be a dominant 7th, but I’m nitpicking. Aaron’s right, this has been covered before, though that other Q/A is a bit confusing. I’m not sure I agree with the accepted answer that it’s “more common” to just not show the suspension in the roman numerals, but check out the Aldwell & Schachter page it links to. That’s what I’m used to —that is to say, yes, I7—6. Commented Dec 8, 2021 at 1:23
• If it were in root position the figured bass would more idiomatically be written 9-8 rather than 2-1. Commented Dec 8, 2021 at 11:56

Your second option - 2-1 - looks like scale degree numbers, but you don't want to use those.
The bass is E and the suspended note above is a D which is a seventh above the bass. So, the chord is I, but given the bass the intervals above the bass as 3/6/7. So, it's I3/6/7.
FWIW, the chord is not a seventh chord, and of course, it is not a ninth chord. The point of the suspension figure is to recognize the D is not a chord tone. One way to analyze this passage is to just write V4/2 I6 below for the chords, and for the suspension figure, a melodic aspect, just put sus, or 9-8 above the D in the treble clef. (See @phoogs comment about 9-8 versus 2-1.)
Personally, I think I3/6/7 is hard to read and understand. V4/2 I6 with sus or 9-8 keeps harmonic analysis symbols with chords and non-chord tone analysis separate with suspension figures.