Construction
| Note | Interval | Degree |
|---|---|---|
| C♯ | Root | 1 |
| D♯ | Major 2nd | 2 |
| G♯ | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| C♯ | black | thumb (1) | little finger (5) |
| D♯ | black | middle finger (3) | middle finger (3) |
| G♯ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on C♯, middle finger (3) on D♯, little finger (5) on G♯.
Left hand: little finger (5) on C♯, middle finger (3) on D♯, thumb (1) on G♯.
C♯ Suspended 2nd Inversions
- Root positionC♯ – D♯ – G♯
- 1st inversion (C♯sus2/D♯)D♯ – G♯ – C♯
- 2nd inversion (C♯sus2/G♯)G♯ – C♯ – D♯
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 C♯ Major
These are the triads built on each degree of C♯ Major:
Scales That Include the C♯ Suspended 2nd
Same Notes, Other Names
The notes C♯ – D♯ – G♯ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
C♯ Suspended 2nd : Frequently Asked Questions
What is the C♯ Suspended 2nd chord on piano?
What is the C# piano chord?
What notes are in the C# Suspended 2nd chord?
How does C# Suspended 2nd differ from C# Major or C# Minor?
What does "suspended" mean in music?
How is C# Suspended 2nd used in music?
What songs use suspended 2nd chords?
Can I use C# Suspended 2nd and C# Major together?
C♯ 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 | C♯3 D♯3 G♯3 | 7 | 96 mm | none | identical | |
| Close, first inversion | D♯3 G♯3 C♯4 | 10 | 138 mm | none | identical | |
| Close, second inversion | G♯3 C♯4 D♯4 | 7 | 96 mm | none | identical | |
| Open, fifth on top | C♯2 G♯2 D♯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 | C♯3 D♯3 | 2 | 28 mm | omits G♯ | 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 | C♯ | C♯3, D♯3, G♯3 | 5/3 | 7 | 96 mm |
| First inversion: C♯sus2/D♯ | D♯ | D♯3, G♯3, C♯4 | 6/3 | 10 | 138 mm |
| Second inversion: C♯sus2/G♯ | G♯ | G♯3, C♯4, D♯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 |
|---|---|---|---|
| C♯add9 | adds E♯ | 1 3 5 9 | 3 |
| C♯ | D♯ becomes E♯ | 1 3 5 | 2 |
| C♯m | D♯ becomes E | 1 ♭3 5 | 2 |
| C♯sus4 | D♯ becomes F♯ | 1 4 5 | 2 |
| C♯maj7 | D♯ becomes E♯, B♯ | 1 3 5 7 | 2 |
| C♯7 | D♯ becomes E♯, B | 1 3 5 ♭7 | 2 |
| C♯m7 | D♯ becomes E, B | 1 ♭3 5 ♭7 | 2 |
| C♯mMaj7 | D♯ becomes E, B♯ | 1 ♭3 5 7 | 2 |
| C♯7sus4 | D♯ becomes F♯, B | 1 4 5 ♭7 | 2 |
| C♯6 | D♯ becomes E♯, A♯ | 1 3 5 6 | 2 |
| C♯m6 | D♯ becomes E, A♯ | 1 ♭3 5 6 | 2 |
| C♯dim | D♯, G♯ becomes E, G | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| C♯3 | 49 | 138.59 Hz |
| D♯3 | 51 | 155.56 Hz |
| G♯3 | 56 | 207.65 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {1, 3, 8}
- Normal order
- [1, 3, 8]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| C♯ to D♯ | Major second | 2 | 2 |
| C♯ to G♯ | Perfect fifth | 7 | 5 |
| D♯ to G♯ | 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 C♯, 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.