Construction
| Note | Interval | Degree |
|---|---|---|
| A♭ | Root | 1 |
| B♭ | Major 2nd | 2 |
| E♭ | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| A♭ | black | thumb (1) | little finger (5) |
| B♭ | black | middle finger (3) | middle finger (3) |
| E♭ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on A♭, middle finger (3) on B♭, little finger (5) on E♭.
Left hand: little finger (5) on A♭, middle finger (3) on B♭, thumb (1) on E♭.
A♭ Suspended 2nd Inversions
- Root positionA♭ – B♭ – E♭
- 1st inversion (A♭sus2/B♭)B♭ – E♭ – A♭
- 2nd inversion (A♭sus2/E♭)E♭ – A♭ – B♭
Key Signature
A Suspended 2nd chord is built from symmetrical or ambiguous intervals, so it doesn't belong to a single key and has no key signature of its own.
Chords in the Key of A♭ Major
These are the triads built on each degree of A♭ Major:
Scales That Include the A♭ Suspended 2nd
Same Notes, Other Names
The notes A♭ – B♭ – E♭ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
A♭ Suspended 2nd : Frequently Asked Questions
What notes are in A♭sus2?
How do you play A♭sus2 on piano?
What are the inversions of A♭sus2?
What is the difference between A♭sus2 and A♭add9?
What is an easy A♭sus2 for small hands?
What are the frequencies of A♭sus2?
What is the set class of A♭sus2?
How do I transpose A♭sus2 to another key?
Is G♯sus2 the same as A♭sus2?
A♭ Suspended 2nd in detail
Exact
Every pitch class is present and nothing outside the chord is added.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Close, root position | A♭3 B♭3 E♭4 | 7 | 96 mm | none | identical | |
| Close, first inversion | B♭3 E♭4 A♭4 | 10 | 138 mm | none | identical | |
| Close, second inversion | E♭4 A♭4 B♭4 | 7 | 96 mm | none | identical | |
| Open, fifth on top | A♭2 E♭3 B♭3 | 14 | 193 mm | none | identical |
Reduced
A subset of the pitch classes: the identity is incomplete rather than altered.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Root and third only | A♭3 B♭3 | 2 | 28 mm | omits E♭ | subset |
Spans are measured centre to centre at a 165 mm octave (standard keyboard geometry).
| Position | Bass note | Notes in order | Figured bass | Semitones | Span |
|---|---|---|---|---|---|
| Root position | A♭ | A♭3, B♭3, E♭4 | 5/3 | 7 | 96 mm |
| First inversion: A♭sus2/B♭ | B♭ | B♭3, E♭4, A♭4 | 6/3 | 10 | 138 mm |
| Second inversion: A♭sus2/E♭ | E♭ | E♭4, A♭4, B♭4 | 6/4 | 7 | 96 mm |
One position per chord tone in the bass. Spans are for close position: voiced inversions appear under Voicings.
| Progression | Key | Role | Sequence | Voice leading |
|---|
Root motion, common tones and voice displacement are computed from pitch class sets. Roman numerals follow common practice functional harmony.
Change one note
Chords a single note away, and what moving that note does.
| Chord | Change | Formula | Common tones |
|---|---|---|---|
| A♭add9 | adds C | 1 3 5 9 | 3 |
| A♭ | B♭ becomes C | 1 3 5 | 2 |
| A♭m | B♭ becomes C♭ | 1 ♭3 5 | 2 |
| A♭sus4 | B♭ becomes D♭ | 1 4 5 | 2 |
| A♭maj7 | B♭ becomes C, G | 1 3 5 7 | 2 |
| A♭7 | B♭ becomes C, G♭ | 1 3 5 ♭7 | 2 |
| A♭m7 | B♭ becomes C♭, G♭ | 1 ♭3 5 ♭7 | 2 |
| A♭mMaj7 | B♭ becomes C♭, G | 1 ♭3 5 7 | 2 |
| A♭7sus4 | B♭ becomes D♭, G♭ | 1 4 5 ♭7 | 2 |
| A♭6 | B♭ becomes C, F | 1 3 5 6 | 2 |
| A♭m6 | B♭ becomes C♭, F | 1 ♭3 5 6 | 2 |
| A♭dim | B♭, E♭ becomes C♭, E♭♭ | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| A♭3 | 56 | 207.65 Hz |
| B♭3 | 58 | 233.08 Hz |
| E♭4 | 63 | 311.13 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {8, 10, 3}
- Normal order
- [8, 10, 3]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| A♭ to B♭ | Major second | 2 | 2 |
| A♭ to E♭ | Perfect fifth | 7 | 5 |
| B♭ to E♭ | Perfect fourth | 5 | 5 |
Where these facts come from
Every value on this page is derived from the note formula for a suspended 2nd applied to the root A♭, using standard music theory. Nothing here is hand-entered per chord, so the notes, intervals, inversions and frequencies cannot drift out of agreement with each other. Pitches assume 12-TET at A440.