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→Harmonic Function
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Suspended chords are often used to prolong the full resolution from a progression. For example, when resolving from iii, V , or vii{{dim}} (or III, v, or VII in minor) to the tonic chord of the key, the 2nd note of the key is found in both the V and vii° all those chords. The other notes resolve, while that 2nd sustains, forming the sus2 chord on the tonic chord, preventing a full resolution. After sustaining the sus2 long enough, the 2nd resolves up to the 3rd or down to the tonic, making the I (or i) and completing the resolution.
For the sus4, the same thing happens with the 4th note of the key, when resolving from a ii or IV chord to I(ii{{dim}} or iv to i in minor). The 4th resolves down to the 3rd or up to the 5th.
===Examples===
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Another common usage is to alternate between sus2, sus4 and the major or minor chord with the same root. This adds a little melody into the harmony. This can be heard most predominantly in '''''Kansas''''' 's "''Dust in the Wind" '' and '''''Led Zepplin''''' 's "''Tangerine"''. However, it's important to distinguish that these similar cases aren't often true suspensions, with the major/minor 3rd actually being played by another instrument or in a different octave. Then the effect is similar to a 9th or 13th chord, which we will cover later.
Am Asus4 Am Asus2 E