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There are extended suspended chords, essentially suspended chords with added tones higher than the 5th degree of a scale. The only extended sus chords I know are 7sus2 (C-D-G-Bb), 7sus4 (C-F-G-Bb), and 9sus4 (C-F-G-Bb-D). Additionally, it is impossible to have a 9sus2 chord, that would have the notes C-D-G-Bb-D (duplicate notes). But, there are extended sus chords higher that go higher than the 9th degree (11th, 13th...)?

  • Please don't change your core question to ask something new. You can always ask a new question and use this as a reference. – Dom Dec 27 '19 at 3:45
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You can have a sus13. These days we accept a dominant 13th chord on its own terms. Earlier textbooks prefer it to be a neatly resolved suspension. They might even criticise the second example for being un-prepared.

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Well, sort of -- bear with me on this one. You can suspend what you might analyse as the 13th resolving down to the 12th.

6-5 suspensions over V resolving to I

But need we call this a 13-12 suspension or would it be OK to call it a 6-5 suspension? And is it even a suspension at all? It's been argued that this "suspension figure" is not a suspension because the would-be suspension note is not a dissonance in the chord.

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  • Would you consider it legitimate to call it a suspension, if the listener clearly expects the voice to move? You go 6-5, 6-5, 6-5 a dozen times but then you leave it at 6... :) – piiperi Reinstate Monica Dec 14 '19 at 9:41
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    Isn't that the whole definition of a suspension - a note outside the chord that is expected to resolve? – Laurence Payne Dec 14 '19 at 12:48
  • @LaurencePayne - But aren't anticipations also notes outside the chord that are expected to resolve (this time by the chord changing to accommodate that note)? – Dekkadeci Dec 14 '19 at 13:41
  • Yeah, they're all the same sort of thing! But I don't think we can define the label by whether the listener EXPECTS the resolution. It's the same thing whether it happens once or 20 times in a row. – Laurence Payne Dec 15 '19 at 11:56
  • Labels for relatively general concepts -- the sort of thing that these are all examples of -- can be useful. Here, perhaps "non-harmony note" (or "accented non-harmony note") would be appropriate. But labels for more specific concepts are also useful, so that we can be precise and distinguish among suspensions, anticipations, appoggiaturas, and (accented) passing notes. By all means point out commonality between examples of the same sort of thing, but let's keep our subcategories, too. – Rosie F Dec 15 '19 at 12:14

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