You’ll get unexpected mileage out of this suspended chord shape. It’s a real workhorse. Start by constructing it like an F major 7 chord, even though it’s a G.
And resolve it by playing an E minor 7, even though it’s a C. Now add the bass, and you’re starting to hear the importance of function over structure. And once it’s in your fingers, you’re going to start hearing it everywhere, particularly when you resolve it to a triad.
And you can share that with someone who belongs in a Pete Kitchen class.
