Construction
| Note | Interval | Degree |
|---|---|---|
| B | Root | 1 |
| C♯ | Major 2nd | 2 |
| F♯ | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| B | white | thumb (1) | little finger (5) |
| C♯ | black | middle finger (3) | middle finger (3) |
| F♯ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on B, middle finger (3) on C♯, little finger (5) on F♯.
Left hand: little finger (5) on B, middle finger (3) on C♯, thumb (1) on F♯.
B Suspended 2nd Inversions
- Root positionB – C♯ – F♯
- 1st inversion (Bsus2/C♯)C♯ – F♯ – B
- 2nd inversion (Bsus2/F♯)F♯ – B – C♯
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 B Major
These are the triads built on each degree of B Major:
Scales That Include the B Suspended 2nd
Same Notes, Other Names
The notes B – C♯ – F♯ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
B Suspended 2nd : Frequently Asked Questions
What notes are in Bsus2?
How do you play Bsus2 on piano?
What are the inversions of Bsus2?
What is the difference between Bsus2 and Badd9?
What is an easy Bsus2 for small hands?
What are the frequencies of Bsus2?
What is the set class of Bsus2?
How do I transpose Bsus2 to another key?
Is C♭sus2 the same as Bsus2?
B 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 | B3 C♯4 F♯4 | 7 | 96 mm | none | identical | |
| Close, first inversion | C♯4 F♯4 B4 | 10 | 138 mm | none | identical | |
| Close, second inversion | F♯4 B4 C♯5 | 7 | 96 mm | none | identical | |
| Open, fifth on top | B2 F♯3 C♯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 | B3 C♯4 | 2 | 28 mm | omits F♯ | 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 | B | B3, C♯4, F♯4 | 5/3 | 7 | 96 mm |
| First inversion: Bsus2/C♯ | C♯ | C♯4, F♯4, B4 | 6/3 | 10 | 138 mm |
| Second inversion: Bsus2/F♯ | F♯ | F♯4, B4, C♯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 |
|---|---|---|---|
| Badd9 | adds D♯ | 1 3 5 9 | 3 |
| B | C♯ becomes D♯ | 1 3 5 | 2 |
| Bm | C♯ becomes D | 1 ♭3 5 | 2 |
| Bsus4 | C♯ becomes E | 1 4 5 | 2 |
| Bmaj7 | C♯ becomes D♯, A♯ | 1 3 5 7 | 2 |
| B7 | C♯ becomes D♯, A | 1 3 5 ♭7 | 2 |
| Bm7 | C♯ becomes D, A | 1 ♭3 5 ♭7 | 2 |
| BmMaj7 | C♯ becomes D, A♯ | 1 ♭3 5 7 | 2 |
| B7sus4 | C♯ becomes E, A | 1 4 5 ♭7 | 2 |
| B6 | C♯ becomes D♯, G♯ | 1 3 5 6 | 2 |
| Bm6 | C♯ becomes D, G♯ | 1 ♭3 5 6 | 2 |
| Bdim | C♯, F♯ becomes D, F | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| B3 | 59 | 246.94 Hz |
| C♯4 | 61 | 277.18 Hz |
| F♯4 | 66 | 369.99 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {11, 1, 6}
- Normal order
- [11, 1, 6]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| B to C♯ | Major second | 2 | 2 |
| B to F♯ | Perfect fifth | 7 | 5 |
| C♯ to F♯ | 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 B, 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.