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♯ | white | middle finger (3) | middle finger (3) |
| E♯ | white | 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 B♭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♯4 E♯4 | 7 | 96 mm | none | identical | |
| Close, first inversion | B♯4 E♯4 A♯4 | 10 | 138 mm | none | identical | |
| Close, second inversion | E♯4 A♯4 B♯5 | 7 | 96 mm | none | identical | |
| Open, fifth on top | A♯2 E♯3 B♯4 | 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♯4 | 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♯4, E♯4 | 5/3 | 7 | 96 mm |
| First inversion: A♯sus2/B♯ | B♯ | B♯4, E♯4, A♯4 | 6/3 | 10 | 138 mm |
| Second inversion: A♯sus2/E♯ | E♯ | E♯4, A♯4, B♯5 | 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 | 58 | 233.08 Hz |
| B♯4 | 60 | 261.63 Hz |
| E♯4 | 65 | 349.23 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {10, 0, 5}
- Normal order
- [10, 0, 5]
- 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.