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Just when you think you've made it through this Sus Triad Symposium-hopefully safely and unscathed- along comes this final and ultimate test of your guitar aptitude; a quest that will require your utmost six-string acumen. You have returned because you, brave troubadour, feel ready to take the next and final step into definitive sus triad mastery. Through the two previous Sus Triad Symposiums you conquered heaps of invigorating Sus chords in all their triadic glory while soaking up all of that mind-tingling knowledge. Poised to complete this harmonic triathlon you wait with axe drawn, amp ignited, and chords loaded. In true Bruce Lee fashion, you lift your chin up, tilt your head slightly, and extend your arm with an open palm. You then arrogantly flick your fingers twice towards you, signaling the challenge to come forth.

OK, but don't say I didn't warn you!

Let's take it slow and lay some important groundwork for the journey that lies ahead. An excellent way to fully digest any new chordal concept such as this is to analyze, memorize, and internalize harmonized scales-also known as chord scales.

If you're new to the concept of chord scales, consider them in their raw form as a series of similarly-voiced chords built on the successive ascending degrees of a chosen scale. The catch is- each chord can only be built with chord tones derived from the chosen scale.

Examining Figs. 1A-C you'll notice three complete chord scales harmonized as sus2 chords built from an A major scale (A-B-C#-D-E-F#-G#) and arranged in root position (1-2-5), 1^st inversion (2-5-1), and 2^nd inversion (5-1-2) closed- voiced triads. The root position chord scale is played on the 6-5-4 string set while the other two chord scales are played on ascending adjacent string sets-5,4,3 and 4,3,2 respectively. If you feel struck with yet another case of déjà vu, your instincts once more serve you well. These figures are arranged in horizontal chord scales similar to the motion found in the 'Horizontal Movements' sections from the first two Sus Triad Symposium lessons, while also switching string sets in the motion introduced in the 'Vertical Areas' sections.

As you can see the above chord scales not only contain diatonic sus triads, but Altered sus triads as well. This stems from the aforementioned rule stating that all the chords in the chord scale must consist of the notes within the parent scale. Consider the chord at the 3rd degree; in its diatonic form it would be a C#sus2 (C#-D#-G#), but since the A Major scale has a D natural, the chord needed to be "altered" to an C#sus2 (C#-D-G#) to correctly coincide with the parent scale.

I suggest learning and playing these chord scale ideas in all keys, on all possible string sets to help attain a true command of sus harmony on the guitar. Doing so will inevitably bring out an inherent guitar-architectural problem though. You see, a common difficulty most guitarists have-myself included-with transposing chord sequences like these is that they initially learn the concept in a horizontal direction within a key that allows for the sequence to be comfortably played in that one direction from start to finish.

At this point, all three chord scales have ascended up the neck, extending past the 12^th fret to clearly display how a chord scale is laid out. The problem with that is- what may work for one key may not work well for others and those keys become the inevitable stick in the spokes as we incorporate these chords into our playing.

What if we treat the neck as a conveyor belt and think of the chords as moving along that belt, regardless of whether they're ascending or descending? Once the chords reach the end of the line so to speak, they would have to "roll over" and go back to the original area to start the sequence over again. To demonstrate this, the chord scale below [Fig. 2] has been organized in a sequence that sets up the chords so they never go past the 12^th fret, thus dealing with this inherent limitation of the guitar, developing the skills necessary to adapt on the fly, and making you a true sus chord ninja! This mega-chord scale is one gigantic twenty-one chord sus4 triad harmonized scale in the key of D. It was arranged so that you'll play all three qualities per degree (playing through all three chord types at once) exclusively on the 3-2-1 string set. For instance, the first three chords are Dsus4, Dsus4/G, and Dsus4/A; then the next three are Esus4, Esus4/A, and Esus4/B, and so on.

After playing through Figs. 1A-C and Fig. 2, and what could seem to be a glut of chord scales as you transpose your way to supremacy, this may all start to feel a little redundant and sound too much like exercises. One reason for this might be that the chord scale sequences are played in a successive ascending or descending order leaving the chord tones to move in a linear (constant) motion resulting in elementary voice leading (a compositional technique involving the movement of chord tones from one chord to another in the most economical way possible).

For example, if you look at the notes in the initial sus2 root position A major chord scale, it's spelled A-B-E. Comparing it to the next chord, Bsus2 which is spelled B-C#-F#, you'll see that each chord tone from the Asus2 chord moves to the very next note in the A scale within the Bsus2 and so it continues throughout the rest of the chord scale-linear motion at it's finest. To remedy this, I apply an ingenious approach to chord scale application and voice leading concepts organized by fellow Berklee professor and legendary jazz guitarist, Mick Goodrick.

Mick took chord scales and set them to interval sequences that are diatonic to an applied scale, calling them cycles. A simple example of this concept could be the ascending chord scales found in Figs. 1A-C. Since each chord is separated by a major second-Asus2 to Bsus2, Bsus2 to C#sus2, C#sus2 to Dsus2, or Esus4 to F#sus4, F#sus4 to G#sus4, G#sus4 to Asus#4-they could be called Cycle 2.

What if the chord scales played in Cycle 2 were rendered in a descending motion? Because of the disjunct (variable) motion within the chord tones, the resulting sequence would be a much more musical sounding if clever voice leading principles were applied. Fig. 3A does just that in a consecutive twenty-one chord sequence as seen previously in Fig. 2, but this time on the 4-3-2 string set and with the chords progressing in varying inversions-Asus2 to Bsus2/F#, Bsus2/F# to C#sus2/D, C#sus2/D to Dsus2, etc.

Fig. 3B revisits the sus4 chord scale in the key of D this time in diatonic thirds-Cycle 3-on the 4-3-2 string set. Like every Goodrick Cycle there are many underlying, logical patterns like the cyclical chord quality pattern, which in this case is Root Position (1-4-5), 2^nd Inversion (5-1-4), and then 1^st Inversion (4-5-1). Also, unlike Fig. 3's consistent descending pattern, this cycle sequence has the chords descending overall but not before some transitory ascending movement from the Root Position to 2^nd Inversion chords occurs.

Instant coolness, right? Fig. 4's sus4 chord scale in the key of C is arranged in successive diatonic 4^ths-hence Cycle 4-and ups the ante with the inclusion of spread voicings. Here I apply one of my own additives when playing cycles with spreads of all qualities (Major, Minor, etc.) that I find challenging (re: vicious), but at the same time extremely beneficial.

Incorporating both Sets A and B spread voicings outlined in the previous two lessons, I arranged this cycle so that the chords constantly alternate between the two sets so I can play every fingering option and further my fretboard vision, expand my chord vocabulary, and sharpen my adaptation skills. Taking a close look at this idea you'll notice that after the chord makes the switch to the optional fingering, it is that fingering group that is employed for the change within the cycle. Tricky? Absolutely. Useful? Totally.

Please remember the safety disclaimer already stated-play these chords slowly and be careful. Some stretches are very intense and there's no need to injure yourself over them. To that end, the chords were placed as high on the fretboard as possible, foregoing the 12^th fret rule in Figs. 3A-B to better facilitate some of those stretches. As you may play some chords that feel unnecessarily high on the fretboard, try to hold off filing any grievances and wait to see what the next set of chords has in store!

Even if you really shed the spread voicings presented in the last two lessons, you may now find fresh difficultly in playing the spreads in a series of varying chord qualities. To help remedy this problem and facilitate simultaneous finger placement, try to form your fingers in the shape of the chord "in the air". At the same time, look for changes that have common tones that allow you to keep certain fingers in place to minimize motion. Finally, train yourself to look ahead to the location on the neck where the next chord needs to go and take a mental snapshot visualizing the change before it actually happens.

I suggest trying to play all of the figures thus far with both a hybrid picking technique (pick and fingers) and pure fingerstyle technique. Find what works best for you even if it ends up being both! If you explore the hybrid picking approach, keep in mind that while the Set A chords will fall comfortably under your hand utilizing the pick for the bass notes and your pick-hand 2^nd and 3^rd fingers for the higher notes, the Set B chords may not be as comfortable. Try replacing the 3^rd finger on the highest note with the 4^th finger. Trust me, if you give it some time it will build the strength of the other digits and you'll thank me for it.

Now let's stir things up a bit and add a moderate pulse to the sequences to explore a modal application. In Fig. 5A you have a short descending Cycle 2 sequence built from an F Dorian scale (F-G-A-B-C-D-E) starting with what may seem like a 2^nd inversion Esus2 (F-B-E). By identifying this chord from it's actual form (inverted chord formulae whose names are derived from the bass note as the root thus giving it an alternative name) I'm able to name this chord as an F7sus4. This voicing technique, also known as quartal harmony (stacked fourths), works well over Dorian textures and allows me to arrange this chord sequence in a very interesting way-just listen! As you explore more advanced Sus chord applications like this, it becomes easier to organize and identify the chords by their actual forms, as you will see in later figures. Notice how this cool descending sequence is arranged to cross different string sets for minimum fret-hand movement.

Fig. 5B takes the same idea and juggles it by ascending the F Dorian chord scale in a "hybrid" Cycle 2-alternating between closed and spread voicings-and going in the opposite direction on the neck in terms of it's vertical motion.
Did you get that?

In my studies and collaborations with Mick Goodrick, he always stressed that he was merely providing the tools and a foundation to work from, and that we all need to establish our own methodology to realize our potential as a guitarists, improvisers, composers, and most importantly-as artists. This opinion echoed many of the treasured soliloquies from the past I had gladly received from other masterminds like David Fiuczynski, Wayne Krantz, and Gerry Carboy.

When playing through any concept, it's important to realize that making music is your ultimate goal. For me, that goal was realized through an amalgam of influences from former instructors applied over the past ten years or so. As a result, I've achieved what every guitarist should strive for-a sound all my own that relies heavily on the use of diatonic and altered sus chords.

The playing techniques you will be using to play the following figures are a little unconventional but they have been carefully notated to insure that you know exactly how to approach playing each note, chord, or percussive attack to get the right sound and feel.

First, the chords that have no symbols in between the standard notation and TAB staff are to be played with hybrid picking technique (pick and fingers simultaneously) while the chords and single notes with the traditional pick stroke directional symbols are to be played with, well, a pick! As you play through all the figures be sure to look at the notation whenever you see the x's in the TAB staff to see what notes your fret hand should be placed over for the best possible transitions and execution. Some of those x's have a "PP" notated, which indicates that you should curl your pick-hand fingers under and "punch" the strings specified.

Whenever you see the P2 and P3 markings, "pop" the specified strings with your 2^nd and 3^rd fingers. Be sure to bend each finger in the shape of a hook, and really reach under each string to get a strong, snappy attack. When executing each pop, be sure to avoid unintentionally hitting an adjacent string. The tones produced by these percussive techniques are essential to this overall approach. Always pay close attention to staccato and accent marks as well because without these differences in attack and inflection, the riffs will not have the dramatic effect they possess.

Fig. 6 is a Cm riff, which can be used for both Dorian and Aeolian applications since there is no 6^th present. This is a simple example of how I employ sus triads as modal additives to bring forth desired sounds with a fresh approach. Think of the Bsus2 (B-C-F) an extension of the Cm7 chord giving the overall sound projected a Cm11 vibe. Look at the 3^rd and 4^th 16^th notes in beat 1 where you are instructed to drop a palm punch on the D, G, and B strings. Be sure to drop the pick on the D string, the 2^nd finger on the G string, and the 3^rd finger on the B string. Then follow that with a pop from your 2^nd (P2) and 3^rd (P3) fingers, while at the same time looking ahead to finger the Bsus2.

Now use your newfound ninja skills and look ahead to that major 2^nd interval at the 2^nd 16^th note of beat 3 to comfortably finger it with your 4^th and 1^st fingers respectively. Speaking of beat 3- and beat 4 for that matter, try barring the 8^th fret with your 1^st finger to best execute the remainder of the riff.

The riff in Fig. 7 was composed with a D Dorian (D-E-F-G-A-B-C) vibe in mind. As stated earlier, sometimes it's easier to name sus chords from their root even if they are being applied as an inversion of another sus chord. Unlike major or minor triads that are unmistakably part of their inversion set, each sus chord has a very unique sound. In these contexts even when sus chords are intended to be played as inversions, they still manage to project their root position texture.

Take the Bsus25 (Fsus#4/B) at the downbeat of bar 1 and compare it to the Fsus#4 (Bsus25/F) at the downbeat of beat 4 in bar 1. They are in the same inversion families but deliver very different results at both junctures of the riff. Similarly, take note of the cool tension and release descending idea starting at the A7sus4 in bar 2, beat 1 where its lower interval of a fourth smoothly moves down a half step making an Amaj7sus4. This happens again in the next pair finally resolving the tension and release effect at the E7sus4 (E-A-D) by voicing the root or tonic note at the top of the chord.

A good way to organize this idea so you can expand upon it is to voice a series of the 7sus4 chords with top notes from the tonic Pentatonic Minor scale-in this case D Minor Pentatonic (D-F-G-A-C)-and experiment with different riff ideas.

As for actually playing this, watch out for that palm punch (PP) on the downbeat of beat 3 in bar 1 where it is quickly followed by a P2 pop, then a downstroke for the 5^th fret, 6^th string A. Aside from the top string set percussive scratch, it's hybrid picking for the remainder of the figure from beat 4 in bar 1 continuing throughout bar 2.

The four-bar vamp in Fig. 8 exploits the E Aeolian mode (E-F#-G-A-B-C-D) and also introduces some other voicing approaches I eventually found by probing into sus chords. Starting things off is a m11(4) voicing-(Root-4-7-3-7-11)-I use often that always delivers an ear catching brilliance perfect for opening or closing a riff. Following the Csus2 are two m7 clusters (chords with multiple intervals of 2^nds and 3^rds). The combination of the clusters and sus chords gives this riff even more presence and brings a fresh alternative to chords with stacked 3^rds and tritones only. Be aware of the varied individual palm punches, and punches followed by P2 and P3 hybrid percussive snaps; they can get tricky but it's what gives the riff rhythmic character and flow.

Well, you made it! You are a true sus triad warrior and you are to be commended, knighted, saluted, or at the very least, high 5'd! I thank you all for taking on this long journey with me, especially those of you who stayed with it from beginning to end. I sincerely hope these lessons have opened doors to new sounds, theories, and techniques for you to expand your playing.

Please visit my website and feel free to email me with any comments or questions on my Contact page-I reply to every last one.

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Chris Buono is an Assistant Professor at the famed Berklee College of Music and a seminar instructor at the National Guitar Workshop. Active as a band leader and session player, Chris has appeared on national television and numerous major and independent releases, performed in most of the industry’s major conventions as well as countless clubs and theatres across North America and Europe. Chris’ most recent appearances on record include the upcoming Graham Haynes CD on Ravi Coltrane’s new label, RKM, and his collaboration with Canadian guitarist Dave Martone for the upcoming Liquid Note Recordings shred compilation, The Alchemists, Volume 2.

As a music journalist, Chris is a regular contributor to Guitar One Magazine and Just Jazz Guitar Magazine. Look for more articles by Chris Buono in Guitar Sessions in the near future.

To learn more about Chris Buono and his music, please see his website at: www.chrisbuono.com