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I'm trying to write down, as text, this progression and I've wondering how the triads should be called.

First we have a Gm, then a Gsus2, then a Gm in first inversion, then GSus2 in first inversion.

How do you write in text a GSus2 in first inversion? Gsus2 6/4? Gsus2 6? Gsus2/C so that it's easily readable?

Then we have Cm6, the same situation, an inverted CmSus2.. and it's the same situation.

In the context of the whole line, how would you notate these chords in text?


1 Answer 1


You're thinking about the 2nd chord as a Gsus2, but in figured base we would notate it as an 'Am 4/2' where the 5th has been omitted: A C (E) G

Therefore these chords would be written as:

  • G minor - root position
  • A minor 7th - 3rd inversion
  • G minor - 2nd inversion
  • A minor 7th - 1st inversion
  • C minor - 2nd inversion
  • G*
  • F major - root position (twice)

*The 2nd to last chord isn't particularly a chord in tonal theory, but rather a G chord where the 'c' is a non-chord tone used as a suspension of the root from the previous chord, and an anticipation of the 5th in the following chord

Hope this clarifies things :D

  • 1
    That makes the 'G' chord Gsus4 if you need a name.
    – Tim
    May 13, 2017 at 16:38
  • Yes but sus chords aren't taught in tonal theory. Suspension is a technique of non-chord tone which is why I called the chord a G rather than a D7 sus4 in first inversion, since both are equally applicable May 13, 2017 at 16:42
  • Add 9 is still a sus chord, just a sus2 chord, and still isn't covered in tonal theory. It is a suspension, not a chord tone. The 'c' in the second to last chord is the suspension, because it is a suspension of a note from a previous chord. The 'd' is unprepared, and can't be considered a suspension. May 13, 2017 at 17:08
  • @DavidBowling you're absolutely right, as far as modern music is concerned you can just call that chord a Gsus4 and be done with it. The problem I have with that is it doesn't tell much about the "wander & return" trend that makes the building blocks of harmony. Here's a great video that touches on this topic: youtube.com/watch?v=r9LCwI5iErE May 13, 2017 at 20:56
  • yeah of course :D ii7 in the key of G minor is 'a' 'c' 'eb' 'g', so its only natural to hear the a7 as an a half diminished, just the segment had omitted the fifth. May 14, 2017 at 22:43

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