#1
I'm reading Mark Levine book about theory and there's a part I don't understand:
It's about voicing the sus (4th) with the Mixolydian mode:
Gsus.This is a simple voicing;play the root (G) with your left hand(piano book) while playing the major triad a whole step below the root (in this case F major) with your right hand. Note that the triad is in second inversion. meaning the fifth of the triad (C) is on the bottom. triads often sound strongest in second inversion. note how smoothly this voicing resolves to the C seventh chord(not dominant seventh).

I played it on guitar: it will be like this : E/---
B/---
G/-3-
D/-4-
A/-4-
E/---
and the root note will be on the 3rd fret on the low E string, so how does that resolves to a C seventh 7th chord?
#2
The chord you have written is an F# major chord, not an F major chord. I guess you meant x332xx and not x443xx.

And that's not a G sus chord. That's an F major chord in the second inversion. And if you add the 3rd fret of low E string, it becomes an F/G. I'm not really sure what you are asking, the post is pretty unclear. And there's nothing "mixolydian" in it if it resolves to C major. F/G is usually used before a G major chord. And the C "seventh chord" you are talking about is Cmaj7.

You are in C major if it resolves to C major.
Quote by AlanHB
Just remember that there are no boring scales, just boring players.

Gear

Bach Stradivarius 37G
Charvel So Cal
Fender Dimension Bass
Hartke HyDrive 210c
Ibanez BL70
Laney VC30
Tokai TB48
Yamaha FG720S-12
Yamaha P115
Last edited by MaggaraMarine at Aug 25, 2013,
#3
The type of slash chord mentioned is often associated with mixolydian in modal jazz or instrumental rock etc.

TS study voice leading.
#4
that was taken word by word from his book from:Gsus.........C7th chord
the other I wrote it.