Fm7 followed by a Bb7sus

[hhold]

Hi

how do you play the following chord progression Fm7| Bb7sus?
I usually play my Fm7: Eb Ab F (bottom sting to 2nd string) which is handy if it's folowed by Bb7 (II-V). But in the case of Bb7sus the position is the same. I can of course add a Bb on the top string but my plectrum seldom hits up there!
Any suggestions?

Thanks

[Bill Burch]

You could always play it 1-3-3-4 (Fm, the ii chord in Eb), with the D and A strings barred with the ring finger, to 3-3--5-4 (Bb7 sus 4, the V7 sus of Eb), barring the G and D strings with the first finger, resolving to the Eb major played 0-1-1-3 with the D and A strings barred with the index finger and the E string played with the ring finger.

Bill

[hhold]

Thanks Bill. Do you mean you omit the minor 7 of Fm7 (Eb)? Also for the Bb7 sus I think you mean 3-3-6-4 (Eb instead of D)
Same thing for the resolution chord you have omitted the major 7th. Is this you something you customarily do? I tend to leave out the 5th.

[Bill Burch]

Good catch, hold. Yes, I meant 3-3-6-4 for the Bb7sus. As far as the tonic Eb chord, if you wanted the Ebmaj7 , you could do that 0-0-6-6 or 7-5-6-6 (which puts the maj7 on the bottom)

Bill

[Markus]

I would consider the 5364 Fm7, as you are going to something on the 3rd fret.

[hhold]

Thanks you all for the tips

[mandopops]

I would play it as 3-string chords (as always) omitting the 'E' Sting.

5-6-6. (low to high) for the Fmin7. Use 1st finger on the 'C' 5th fret & 3rd finger on the 6th fret bar. (Leave 2nd finger free, will be used later).
3-6-6 for the Bbsus, just move the 1st finger down to the 3rd fret, leave 3rd finger 6th fret bar in place.

From there 2 options, to make the last chord Eb Maj 7th (Nice chord)=
3-5-5- keep your 1st finger in place & just slide your 3rd finger bar down 1 fret to 5th fret.

Or from the Bbsus (still 3-6-6) to make last chord a straight Major chord Eb=
3-5-6 , your 1st & 3rd fingers stay in place, now just add 2nd finger on the 5th fret of 'D' String.

I like this- subtle moves, good voice leading, & simple.

Joe

[hhold]

Thanks Joe. Do you often leave out the root when playing Maj7 and min7th chords? I know it is customary to do that whan playing 7th chords e.g b-f-d for a G7 but it seems to me you're only playing a major/minor triad in the first instance Ab for Fm7, Gm for EbMaj7.

[mandopops]

Hey Mr. hhold,

Do I leave out the root? I suppose I often do, but no hard & fast rule, it's situational. Where is the chord coming from & where is it going? I can vary the voicings in the tune on repeats, maybe double stops, single notes, or maybe mix in a 4 note chord.

I like the 3-string chords & I look for those subtle moves. I know the 3 note chords can be ambiguous, but it helps to understand substitutions. I think trying to get all the notes in and playing a 4-string chord often leads to awkward fingerings & difficult changes for little effect.

Joe

[Pete Martin]

Fm7 = F Ab C Eb (can also add 9 G and 13 D)
Bb7sus = Bb Eb F Ab (can also add 9 C and 13 G)

They are almost the same. I see IIm7 and V7sus interchanged with each other in charts all the time. Many Jazz players view them as the same...

Take all of these notes and find sounds you like. Depending on what other sounds I hear around me, I will sometimes voice these two chords the exact same, or use the same notes in different inversions.

One thing you didn't give us is what instrumentation you are playing with? Who else is comping when you are? Context can let you play MANY different things that can fit or not.

Sometimes I hear pianists play both the third and the sus4 in the same voicing. Once again context is everything.