I'm in agreement with masi. I'm not a jazz player, so frankly I don't care how jazz folks feel about the term "sus2." To me, the name describes the chord. There's very little there that is unclear. A 2nd is held in suspension in favor of the 3rd. You could almost argue that a sus2 is a collection of intervals more than it's a chord, since all you get is a 1, 2 and 5. But I don't have problems with that. As long as I can use it where I want, and I get that open, spacey feel that a sus2 provides.

With respect to the add2 and add9 chords, I do see a difference, mostly in the way the notes are applied in a score. With an add9, I would expect to see it in the upper registers, since its name implies that it's an octave higher than some tonic note of the chord. But an add2 implies that it remains close to the tonic. In point of fact, I've used "add2" chords where the root of the chord was the 2nd. In that sort of case, I believe the term "add9" would be inappropriate.

Getting back to the sus2 for a moment, BiaB is not without its peculiarities associated with that chord. For example, it doesn't allow one to name a 7sus2, even though it's very easy to play one on guitar, for example. Perhaps one would argue that it's just a 9th chord missing the 3rd, but to me the 3rd is quite important when voicing a 9th chord, so I can see where using a 7sus2 voicing would be appropriate, especially when one does not want to hear the 3rd.

Best,
Michael

My Music:
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