Construction
| Note | Interval | Degree |
|---|---|---|
| D♯ | Root | 1 |
| E♯ | Major 2nd | 2 |
| A♯ | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| D♯ | black | thumb (1) | little finger (5) |
| E♯ | white | middle finger (3) | middle finger (3) |
| A♯ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on D♯, middle finger (3) on E♯, little finger (5) on A♯.
Left hand: little finger (5) on D♯, middle finger (3) on E♯, thumb (1) on A♯.
D♯ Suspended 2nd Inversions
- Root positionD♯ – E♯ – A♯
- 1st inversion (D♯sus2/E♯)E♯ – A♯ – D♯
- 2nd inversion (D♯sus2/A♯)A♯ – D♯ – E♯
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 D♯ Major
These are the triads built on each degree of D♯ Major:
Scales That Include the D♯ Suspended 2nd
Same Notes, Other Names
The notes D♯ – E♯ – A♯ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
D♯ Suspended 2nd : Frequently Asked Questions
What is the D♯ Suspended 2nd chord on piano?
What is the D# piano chord?
What notes are in the D# Suspended 2nd chord?
How does D# Suspended 2nd differ from D# Major or D# Minor?
What does "suspended" mean in music?
How is D# Suspended 2nd used in music?
What songs use suspended 2nd chords?
Can I use D# Suspended 2nd and D# Major together?
D♯ 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 | D♯3 E♯3 A♯3 | 7 | 96 mm | none | identical | |
| Close, first inversion | E♯3 A♯3 D♯4 | 10 | 138 mm | none | identical | |
| Close, second inversion | A♯3 D♯4 E♯4 | 7 | 96 mm | none | identical | |
| Open, fifth on top | D♯2 A♯2 E♯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 | D♯3 E♯3 | 2 | 28 mm | omits A♯ | 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 | D♯ | D♯3, E♯3, A♯3 | 5/3 | 7 | 96 mm |
| First inversion: D♯sus2/E♯ | E♯ | E♯3, A♯3, D♯4 | 6/3 | 10 | 138 mm |
| Second inversion: D♯sus2/A♯ | A♯ | A♯3, D♯4, E♯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 |
|---|---|---|---|
| D♯add9 | adds F× | 1 3 5 9 | 3 |
| D♯ | E♯ becomes F× | 1 3 5 | 2 |
| D♯m | E♯ becomes F♯ | 1 ♭3 5 | 2 |
| D♯sus4 | E♯ becomes G♯ | 1 4 5 | 2 |
| D♯maj7 | E♯ becomes F×, C× | 1 3 5 7 | 2 |
| D♯7 | E♯ becomes F×, C♯ | 1 3 5 ♭7 | 2 |
| D♯m7 | E♯ becomes F♯, C♯ | 1 ♭3 5 ♭7 | 2 |
| D♯mMaj7 | E♯ becomes F♯, C× | 1 ♭3 5 7 | 2 |
| D♯7sus4 | E♯ becomes G♯, C♯ | 1 4 5 ♭7 | 2 |
| D♯6 | E♯ becomes F×, B♯ | 1 3 5 6 | 2 |
| D♯m6 | E♯ becomes F♯, B♯ | 1 ♭3 5 6 | 2 |
| D♯dim | E♯, A♯ becomes F♯, A | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| D♯3 | 51 | 155.56 Hz |
| E♯3 | 53 | 174.61 Hz |
| A♯3 | 58 | 233.08 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {3, 5, 10}
- Normal order
- [3, 5, 10]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| D♯ to E♯ | Major second | 2 | 2 |
| D♯ to A♯ | Perfect fifth | 7 | 5 |
| E♯ to A♯ | 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 D♯, 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.