Suspended third chords in passing

I don't use suspended third chords spontaneously and don't have good principles for introducing them outside of formal counterpoint. Let's try to figure out ways to use suspended third chords. Suppose you have two diatonic triads, an initial chord and a final chord, and you want to sneak in a .sus2 or .sus4 chord between them. The classical idiom for dissonant suspensions in is to hold a note from initial chord over while other notes change, and then to drop the held note down by a small step interval (such as A1, d2, m2 M2, perhaps d3 when we get into jazz). The suspended note doesn't have to resolve to the the third of a chord in classical counterpoint, but we'll use that constraint here.

If we look at common transitions between diatonic triads and see when the initial chord has a note that's a small step over the third of the final chord, then these pop out at us:

[I.maj → II.sus4 → II.m] # 1-2
[II.m → III.sus4 → III.m] # 2-3
[III.m → II.sus4 → II.m] # 3-2
[IV.maj → V.sus4 → V.maj] # 4-5
[VII.dim → I.sus4 → I.maj] # 7-1

These are all .sus4 chords, rather than .sus2 chords, because, in the classical idiom, the suspended note falls to resolve. They also all connect diatonic triads with adjacent roots. Let's do the same thing with diatonic 7th chords. This gives us versions of the same five previous .sus4 transitions

* [I.maj7 → II.7sus4 → II.m7] # 1-2
* [II.m7 → III.7sus4 → III.m7] # 2-3
* [III.m7 → II.7sus4 → II.m7] # 3-2
* [IV.maj7 → V.7sus4 → V.7] # 4-5
* [VII.m7b5 → I.maj7sus4 → I.maj7] # 7-1

And also three new options:

* [II.m7 → V.7sus4 → V.7] # 2-5
* [V.7 → I.maj7sus4 → I.maj7] # 5-1
* [VI.m7 → II.7sus4 → II.m7] # 6-2

When generating those, one more spicy options showed up, that I don't quite know how to name:

If you carry the B over from C.maj7 and cary it into the third slot of an F.maj7 chord and resolve it down to A natural, the intermediate chord you get is [F, B, C, E], which isn't  IV.maj7sus4, since B natural is an augmented 4th over F, not a perfect fourth. I don't know a name for that chord.

I'll note that for these chord transitions to follow the classical idiom, you hhave to voice the chords in specific ways. For example, for the transition

* [II.m7 → V.7sus4 → V.7] # 2-5

looks like this in the key of C major

    [D.m7 → G.7sus4 → G.7]

and to get the suspension right, the D.m7 and G.7 have to be voiced so that the (A natural) actually falls by a small step to the (B natural) of G.7. It's not enough to have the notes in the chords; the notes have to line up correctly for the classical idiom to be realized.

Another thing we could try, which could get us .sus2 passing chords, is to introduce a note into the current chord which comes from the following chord, i.e. we could anticipate a note of the next chord. Here are some anticipitory options with diatonic triads:

[I.maj → I.sus2 → II.m]
[I.maj → I.sus4 → II.m]
[I.maj → I.sus4 → IV.maj]
[II.m → II.sus2 → III.m]
[II.m → II.sus4 → III.m]
[II.m → II.sus4 → V.maj]
[III.m → III.sus2 → II.m]
[III.m → III.sus4 → II.m]
[IV.maj → IV.sus4 → VII.dim]
[IV.maj → IV.sus2 → V.maj]
[IV.maj → IV.sus4 → V.maj]
[V.maj → V.sus4 → I.maj]
[VI.m → VI.sus4 → II.m]

No idea if these will sound good. Will have to investigate.

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