Piano Diagram of Gbsus4 in Root Position
The Gb suspended fourth chord (Gbsus4) consists of three notes: Gb, B, and Db. It’s called a “suspended 4” chord because the third note of the chord is replaced with a perfect fourth. To play the Gbsus4 chord on a piano, you would start with a Gb major chord and replace the third note Bb, with the fourth note B. Further reading will give you a better understanding of the music theory principles behind this chord.
Structure of Gbsus4
Notes |
---|
Gb, B, Db |
Intervals |
---|
R, 4, 5 |
Fingers Position
Left Hand |
---|
5, 2, 1
4, 2, 1 |
Right Hand |
---|
1, 2, 3
1, 2, 4 |
Gbsus4 Chord Inversions
The Gbsus4 chord has a total of 2 inversions:
Root Position: | Gb | B | Db |
1st Inversion: | B | Db | Gb |
2nd Inversion: | Db | Gb | B |
Piano Keyboard Diagrams
Gbsus4 Chord Equivalencies
An interesting detail about sus4 chords is that their 1st inversion results in a sus2 chord. To clarify, when the 4th note of a sus4 chord becomes the root note, it transforms into a sus2 chord.
1st Inversion of Gbsus4 = Bsus2
For instance, if we take the Gbsus4 chord with the notes Gb, B, and Db and rearrange them so that B becomes the root note, we end up with a Bsus2 chord with the notes B, Db, and Gb. Therefore, the 1st inversion of Gbsus4 is equivalent to Bsus2.
Music Theory and Harmony of Gbsus4
What are Suspended Chords?
Suspended chords are a type of chord in which the third note is replaced by either a major second or a perfect fourth. These resulting chords are called suspended second (sus2) or suspended fourth (sus4) chords, respectively. These chords create a unique and sometimes unresolved sound that can add tension and interest to a musical composition.
Suspended chords have a distinct sound that sets them apart from major and minor chords. They are called suspended chords because they temporarily suspend the listener’s expectation of hearing a major or minor stable chord. Instead, they feature a perfect fourth or major second interval in place of the third. Due to their “neutral nature,” suspended chords can sometimes be used as substitutes for both major and minor chords.
Building the Gbsus4 Chord: Different Approaches
Starting from the Gb major Scale
To build a sus4 chord, you can use the major scale as a guide and combine a root note, a perfect 4th interval, and a perfect 5th interval.
To create a Gbsus4 chord, apply the formula R, 4, 5 in the following manner:
- Begin with the Root note, which is Gb.
- Select the 4th interval, which is B, and add it to the chord.
- Finally, add the 5th interval, which is Db.
By following this simple formula, you can create a sus4 chord from any major scale.
by Combining Intervals
One method to create a suspended 4th chord is by combining two specific intervals – a perfect 4th, and a major 2nd.
4 + 2 = sus4 Chords
To illustrate, let’s use the Gbsus4 chord as an example. By examining the intervals between the notes, we can see that Gb-B forms a perfect 4th interval, and B-Db creates a major second interval (a whole tone).
How to Use Gbsus4 in a Chord Progression
Suspended chords have a unique quality that sets them apart from major and minor chords. They are considered neither major nor minor, which makes them a great tool for creating tension and suspense in a musical composition before resolving to a stable major or minor chord.
In the following tables, you will find the harmonization of the major and relative natural minor scales for keys that include Gb major and Gb minor chords in various positions and different harmonic roles.
Gbsus4 as Substitute of Gb Maj Chords
In the keys of Db Major and Bb minor, the 4th note B can clash with the Bb or the C notes that are present in those keys. While this doesn’t prevent you from using the Gbsus4 chord in those positions, it’s important to be aware that it can create a strong dissonance with the melody or other elements of the composition.
on Major Scales
Major Scales | I | ii | iii | IV | V | vi | vii |
---|---|---|---|---|---|---|---|
Gb | Gb Maj7 ⇒ Gbsus4 | Ab min7 | Bb min7 | Cb Maj7 | Db Maj7 | Eb min7 | Fm7b5 |
Db | Db Maj7 | Eb min7 | F min7 | Gb Maj7 ⇒ Gbsus4 | Ab Maj7 | Bb min7 | Cm7b5 |
Cb = B | B Maj7 | C# min7 | D# min7 | E Maj7 | F#7 ⇒ F#sus4 = Gbsus4 | G# min7 | A#m7b5 |
- Tonic chord in Gb Major
- Non Diatonic Subdominant chord in Db Major
- Dominant chord in B Major as F#sus4
on Natural minor Scales
Minor Scales | i | ii | III | iv | v | VI | VII |
---|---|---|---|---|---|---|---|
Eb | Eb min7 | Fm7b5 | Gb Maj7 ⇒ Gbsus4 | Ab min7 | Bb min7 | Cb Maj7 | Db7 |
Bb | Bb min7 | Cm7b5 | Db Maj7 | Eb min7 | F min7 | Gb Maj7 ⇒ Gbsus4 | Ab7 |
Ab | Ab min7 | Bbm7b5 | Cb Maj7 | Db min7 | Eb min7 | Fb Maj7 | Gb7 ⇒ Gbsus4 |
- Mediant chord in Eb minor
- Non Diatonic Submediant chord in Bb minor
- Leading tone chord in Ab minor
Gbsus4 as Substitute of Gb min Chords
While the Gbsus4 chord can be used as a substitute or variation for Gb minor 7th chords, it’s important to note that a Gb7sus4 chord would be a better fit due to the presence of the minor 7th.
on Major Scales
Major Scales | I | ii | iii | IV | V | vi | vii |
---|---|---|---|---|---|---|---|
Fb = E | E Maj7 | F#m7 ⇒ F#sus4 = Gbsus4 | G# min7 | A Maj7 | B7 | C# min7 | D#m7b5 |
Ebb = D | D Maj7 | E min7 | F#m7 ⇒ F#sus4 = Gbsus4 | G Maj7 | A7 | B min7 | C#m7b5 |
Bbb = A | A Maj7 | B min7 | C# min7 | D Maj7 | E7 | F#m7 ⇒ F#sus4 = Gbsus4 | G#m7b5 |
- Supertonic chord in E Major as F#sus4
- Mediant chord in D Major as F#sus4
- Submediant chord in A Major as F#sus4
on Natural minor Scales
Minor Scales | i | ii | III | iv | v | VI | VII |
---|---|---|---|---|---|---|---|
Gb = F# | F#m7 ⇒ F#sus4 = Gbsus4 | G#m7b5 | A Maj7 | B min7 | C# min7 | D Maj7 | E7 |
Db = C# | C# min7 | D#m7b5 | E Maj7 | F#m7 ⇒ F#sus4 = Gbsus4 | G# min7 | A Maj7 | B7 |
Cb = B | B min7 | C#m7b5 | D Maj7 | E min7 | F#m7 ⇒ F#sus4 = Gbsus4 | G Maj7 | A7 |
- Tonic chord in Gb minor as F#sus4
- Subdominant chord in Db minor as F#sus4
- Dominant chord in B minor as F#sus4
Gbsus4 Function in Major and Minor Keys
Understanding Scale Degrees
Scale degrees are essential for understanding the relationship between the notes in a scale and how they function within chords. The diatonic major scale consists of seven degrees, each with its unique role in creating the overall harmony of the scale.
- The first degree of the scale is known as the Tonic, which serves as the anchor for the music. It establishes a stable tonal center that acts as the foundation for the scale.
- The second degree is called the Supertonic, often used as a transitional note between the Tonic and other notes in the scale. It creates a sense of motion within the melody or harmony.
- The third degree of the scale is the Mediant, which sits halfway between the Tonic and Dominant notes. It helps establish whether the scale is major or minor.
- The fourth degree is called the Subdominant, used to complement the Dominant and add tension and resolution to the music.
- The fifth degree is the Dominant, which creates tension and anticipation within the melody or harmony, typically resolved by returning to the Tonic.
- The sixth degree is the Submediant, often employed as a transitional note between the Dominant and Tonic, adding a sense of stability and restfulness to the music.
- The seventh degree is the Leading tone, located one half-step below the Tonic. It creates a strong sense of tension and a desire to resolve to the Tonic, frequently used to create a sense of resolution and finality in the melody or harmony.
Gbsus4 in Gb Major
The Gbsus4 chord can be used along with the Gb Maj7 chord (or any other kind of Gb major chord) to add color on the first degree. The Gbsus4 chord can suspend the Gb Major chord or the subsequent chord.
I | ii | iii | IV | V | vi | vii |
Gb Maj7 | Ab min7 | Bb min7 | Cb Maj7 | Db7 | Eb min7 | Fm7b5 |
Gbsus4 Chord Progressions as I degree
ii V I
ii | V | I |
Ab min7 | Db7 | Gbsus4 | Gb Maj7 |
I IV V
I | IV | V |
Gbsus4 | Gb Maj7 | Cb Maj7 | Db7 |
I V vi IV
I | V | vi | IV |
Gbsus4 | Gb Maj7 | Db7 | Eb min7 | Cb Maj7 |
I IV vi V
I | IV | vi | V |
Gbsus4 | Gb Maj7 | Cb Maj7 | Eb min7 | Db7 |
Gbsus4 in Db Major (Non Diatonic)
Let’s explore the sound of the Gbsus4 chord in the key of Db major, which can be used as a substitute or variation of the Gb Maj7 chord on the IV degree. However, it’s important to note that the Gbsus4 contains a B which clashes with the Bb or the C present in this key. So, since the Gbsus4 is not diatonic in this key, it may sound unusual or foreign to the overall tonality.
I | ii | iii | IV | V | vi | vii |
Db Maj7 | Ebm7b5 | F min7 | Gb Maj7 | Ab7 | Bb min7 | Cm7b5 |
Gbsus4 Chord Progressions as IV degree
I IV V
I | IV | V |
Db Maj7 | Gbsus4 | Gb Maj7 | Ab7 |
I V vi IV
I | V | vi | IV |
Db Maj7 | Ab7 | Bb min7 | Gbsus4 | Gb Maj7 |
I IV vi V
I | IV | vi | V |
Db Maj7 | Gbsus4 | Gb Maj7 | Bb min7 | Ab7 |
Gbsus4 in Cb Major
Check F#sus4 in B Major
Gbsus4 in Eb Minor
Try experimenting with chord progressions featuring a Gb Maj7 on the III degree of the Eb minor scale, and try playing a Gbsus4 before or after the Gb Maj7 to see how it sounds.
i | ii | III | iv | v | VI | VII |
Eb min7 | Fm7b5 | Gb Maj7 | Ab min7 | Bb min7 | Cb Maj7 | Db7 |
Gbsus4 Chord Progressions as III degree
i III
i | III |
Eb min7 | Gbsus4 | Gb Maj7 |
i III VII VI
i | III | VII | VI |
Eb min7 | Gbsus4 | Gb Maj7 | Db7 | Cb Maj7 |
i III iv v
i | III | iv | v |
Eb min7 | Gbsus4 | Gb Maj7 | Ab min7 | Bb min7 |
i III ii v
i | III | ii | v |
Eb min7 | Gbsus4 | Gb Maj7 | Fm7b5 | Bb min7 |
I iii vi V
i | III | VI | iv |
Eb min7 | Gbsus4 | Gb Maj7 | Cb Maj7 | Ab min7 |
Circle Progression
i | iv | VII | III | VI | ii | V7 | i |
Eb min7 | Ab min7 | Db7 | Gbsus4 | Gb Maj7 | Cb Maj7 | Fm7b5 | Bb7 | Eb min7 |
Gbsus4 in Bb Minor (Non Diatonic)
In the key of Bb minor, the VI degree chord is a Gb major chord. To add some color, you can use a Gbsus4 chord as a substitution or variation of this chord. However, keep in mind that the Gbsus4 chord is non-diatonic in this key because it contains a B while the Bb minor scale contains a Bb and a C. Therefore, it’s generally recommended to avoid using the Gbsus4 chord in this key but feel free to experiment and see how it sounds to your ears.
i | ii | III | iv | v | VI | VII |
Bb min7 | Cm7b5 | Db Maj7 | Eb min7 | F min7 | Gb Maj7 | Ab7 |
Gbsus4 Chord Progressions as VI degree
i VI VII
i | VI | VII |
Bb min7 | Gbsus4 | Gb Maj7 | Ab7 |
i v VI VII
i | v | VI | VII |
Bb min7 | F min7 | Gbsus4 | Gb Maj7 | Ab7 |
i III VII VI
i | III | VII | VI |
Bb min7 | Db Maj7 | Ab7 | Gbsus4 | Gb Maj7 |
Circle Progression
i | iv | VII | III | VI | ii | V7 | i |
Bb min7 | Eb min7 | Ab7 | Db Maj7 | Gbsus4 | Gb Maj7 | Cm7b5 | F7 | Bb min7 |
Gbsus4 in Ab Minor
Let’s explore the use of Gbsus4 as a leading tone chord in the key of Ab minor. As the leading tone chord, Gbsus4 can create tension and lead the listener’s ear to the tonic chord, which is Ab minor in this case.
i | ii | III | iv | v | VI | VII |
Ab min7 | Bbm7b5 | Cb Maj7 | Db min7 | Eb min7 | Fb Maj7 | Gb7 |
Gbsus4 as VII degree – Chord Progressions
i VI VII
i | V | VII |
Ab min7 | Eb min7 | Gbsus4 | Gb7 |
i v VI VII
i | v | VI | VII |
Ab min7 | Eb min7 | Fb Maj7 | Gb7 | Gbsus4 |
i III VII VI
i | III | VII | VI |
Ab min7 | Cb Maj7 | Gbsus4 | Gb7 | Fb Maj7 |
Circle Progression
i | iv | VII | III | VI | ii | V7 | i |
Ab min7 | Db min7 | Gbsus4 | Gb7 | Cb Maj7 | Fb Maj7 | Bbm7b5 | Eb7 | Ab min7 |
Gbsus4 in Fb Major
Check F#sus4 in E Major
Gbsus4 in Ebb Major
Check F#sus4 in D Major
Gbsus4 in Bbb Major
Check F#sus4 in A Major
Gbsus4 in Gb Minor
Check F#sus4 in F# minor
Gbsus4 in Db Minor
Check F#sus4 in C# minor
Gbsus4 in Cb Minor
Check F#sus4 in B minor
Alternative Names for Gbsus4
- Gbsus4
- Gbsus(4)
- Gb add4(no3)
- Gb add4(omit3)
- Gb Suspended 4th
Conclusion
While the chord progressions and examples in this post offer a comprehensive overview of common uses for the Gbsus4 chord, space constraints prevent a full exploration of advanced harmony topics. These include chord progressions based on scales, modal interchange, and jazz harmony. However, I encourage readers to continue studying and exploring to gain a deeper understanding of the harmonic possibilities beyond the basic concepts presented here. You can unlock a wide range of musical expressions and expand your creativity.
I hope this post has been informative and helpful in your music theory journey. Keep exploring and creating music, and don’t forget to have some fun along the way!