Please Give Me Some Tips About Walking Over Sus Chords and Some Bass Lines I Can Transcribe

I'm not going to pretend to be a scholar of theory here, but when I'm in doubt I stick with the chord tones. and chromatic transitions if I need.

I had the same problem about two years ago on a record. this method got me by. I'm sure there are better, and more technical answers though.

 

Yes - Cmin7 being C, D, Eb, F, G, A, Bb, C. This collection of notes are all supportive of, and consonant within, F7sus...while walking or soloing.

Nope. The Maj 3rd (A natural) on an F7sus chord is fine, esp. while walking. (I would avoid the Min 3rd - Ab - like the plague.)
IMFO/IME.
Good Luck and Thanks.

 

Another approaches is thinking Intervals. Each interval has a colour or a sound. P4th, then P5th, unison, octave, m3rd down, M7th up, m2, etc.

It’s a simple way to get yourself to think outside the box when you find yourself in a rut overthinking/overplaying scales or chord tones or chromatic runs. Sounds best when mixed in with other approaches. It’s something I picked when transcribing Ron Carter walking lines.

 

Is the suspension free standing (a chord color), or a tension resolving to the major. Function may determine treatment.

 

Lot's of good comment here!

I might add just a little, while I agree with avoid the minor 3rd like the plague. I'd prefer to tell you to be very conscious about what is the role of the chord in the piece. In some context, bad chart, the sus chord may actually not be that and be something else. Therefor you could actually use the minor 3rd. This mean unless it is a bad chart and you can analyse and explain why, don't go there. But I feel like I am going off track here.

Just be careful, and also when when playing the major third what is its fonction in the line you are playing. This relate to your confusion about never, never on 1 & 3... If you are playing the major third but its fonction is also a chromatic approach to the fourth then it changes everything. But if you play the fourth as a chromatic approach to the third it will feel different. Does that make sense? Try it and if possible transcribe example for one bar, two, and even four bar if you can.

In the worst case avoid it until you hear it or find other way around it. Actually I'd love to hear some of you play on a sus chord or example of line you play. Let's share!

 

I dunno. I'm not a theory whiz, but I'm trying to learn Ron Carter's line on Dolphin Dance, and here's what I got on Freddie's 1st chorus on the part with all the F pedals on the head:
Those Ab's on strong beats sound pretty good to me. So does the B on the downbeat, for that matter.

 

Sorry posting the same pic twice. I'm a bit of a Luddite

 

Hi lurk,
Here is what I hear RC playing at that spot in the first chorus of Freddie's solo ; @1:51 in the YT below.(Yeah... he hits "1" unvarnished Ab.)

 

Doran probably the mother of all sus tunes, absolutely bristling with them, at 100 mph. Check the "Recordings" forum for Prof. Kasper's magisterial chart - the correct, non-Real-Book one. (Oct. 10, 2014.)

 

I think that playing the 3rd resolves the sus feeling too much. A sus chord sounds a bit uncomfortable, following your ear will push you toward resolving it. I would stop trying to convert it into other chords and focus on root and 4 with chromatic passing tones, let it feel like a sus chord, or just play a tune without sus chords.
Just because something seems to "work" because it sounds right doesn't mean it is.
If you do want to push the major third let things sit before and after without it.

 

Funniest Thing Seen on the Internet Today.
So far.

 

None of the (..."uncomfortable" ???) Sus chords in Maiden Voyage resolve or need to resolve.
Just sayin', just followin' my ear(z).

 

I'd say that you are not asking for advice, and that I would imagine you can hear those chords for what they are.

 

Triad Pairs! F7sus = F major triad and Eb major triad.