Construction
| Note | Interval | Degree |
|---|---|---|
| F♯ | Root | 1 |
| G♯ | Major 2nd | 2 |
| C♯ | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| F♯ | black | thumb (1) | little finger (5) |
| G♯ | black | middle finger (3) | middle finger (3) |
| C♯ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on F♯, middle finger (3) on G♯, little finger (5) on C♯.
Left hand: little finger (5) on F♯, middle finger (3) on G♯, thumb (1) on C♯.
F♯ Suspended 2nd Inversions
- Root positionF♯ – G♯ – C♯
- 1st inversion (F♯sus2/G♯)G♯ – C♯ – F♯
- 2nd inversion (F♯sus2/C♯)C♯ – F♯ – G♯
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 F♯ Major
These are the triads built on each degree of F♯ Major:
Scales That Include the F♯ Suspended 2nd
Same Notes, Other Names
The notes F♯ – G♯ – C♯ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
F♯ Suspended 2nd : Frequently Asked Questions
What notes are in F♯sus2?
How do you play F♯sus2 on piano?
What are the inversions of F♯sus2?
What is the difference between F♯sus2 and F♯add9?
What is an easy F♯sus2 for small hands?
What are the frequencies of F♯sus2?
What is the set class of F♯sus2?
How do I transpose F♯sus2 to another key?
Is G♭sus2 the same as F♯sus2?
F♯ 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 | F♯3 G♯3 C♯4 | 7 | 96 mm | none | identical | |
| Close, first inversion | G♯3 C♯4 F♯4 | 10 | 138 mm | none | identical | |
| Close, second inversion | C♯4 F♯4 G♯4 | 7 | 96 mm | none | identical | |
| Open, fifth on top | F♯2 C♯3 G♯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 | F♯3 G♯3 | 2 | 28 mm | omits C♯ | 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 | F♯ | F♯3, G♯3, C♯4 | 5/3 | 7 | 96 mm |
| First inversion: F♯sus2/G♯ | G♯ | G♯3, C♯4, F♯4 | 6/3 | 10 | 138 mm |
| Second inversion: F♯sus2/C♯ | C♯ | C♯4, F♯4, G♯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 |
|---|---|---|---|
| F♯add9 | adds A♯ | 1 3 5 9 | 3 |
| F♯ | G♯ becomes A♯ | 1 3 5 | 2 |
| F♯m | G♯ becomes A | 1 ♭3 5 | 2 |
| F♯sus4 | G♯ becomes B | 1 4 5 | 2 |
| F♯maj7 | G♯ becomes A♯, E♯ | 1 3 5 7 | 2 |
| F♯7 | G♯ becomes A♯, E | 1 3 5 ♭7 | 2 |
| F♯m7 | G♯ becomes A, E | 1 ♭3 5 ♭7 | 2 |
| F♯mMaj7 | G♯ becomes A, E♯ | 1 ♭3 5 7 | 2 |
| F♯7sus4 | G♯ becomes B, E | 1 4 5 ♭7 | 2 |
| F♯6 | G♯ becomes A♯, D♯ | 1 3 5 6 | 2 |
| F♯m6 | G♯ becomes A, D♯ | 1 ♭3 5 6 | 2 |
| F♯dim | G♯, C♯ becomes A, C | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| F♯3 | 54 | 185.00 Hz |
| G♯3 | 56 | 207.65 Hz |
| C♯4 | 61 | 277.18 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {6, 8, 1}
- Normal order
- [6, 8, 1]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| F♯ to G♯ | Major second | 2 | 2 |
| F♯ to C♯ | Perfect fifth | 7 | 5 |
| G♯ to C♯ | 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 F♯, 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.