Construction
| Note | Interval | Degree |
|---|---|---|
| F | Root | 1 |
| G | Major 2nd | 2 |
| C | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| F | white | thumb (1) | little finger (5) |
| G | white | middle finger (3) | middle finger (3) |
| C | white | 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 (Fsus2/G)G – C – F
- 2nd inversion (Fsus2/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 is the F Suspended 2nd chord on piano?
What notes are in the F Suspended 2nd chord?
How does F Suspended 2nd differ from F Major or F Minor?
What does "suspended" mean in music?
How is F Suspended 2nd used in music?
What songs use suspended 2nd chords?
Can I use F Suspended 2nd and F Major together?
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 | F3 G3 C4 | 7 | 96 mm | none | identical | |
| Close, first inversion | G3 C4 F4 | 10 | 138 mm | none | identical | |
| Close, second inversion | C4 F4 G4 | 7 | 96 mm | none | identical | |
| Open, fifth on top | F2 C3 G3 | 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 | F3 G3 | 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 | F3, G3, C4 | 5/3 | 7 | 96 mm |
| First inversion: Fsus2/G | G | G3, C4, F4 | 6/3 | 10 | 138 mm |
| Second inversion: Fsus2/C | C | C4, F4, G4 | 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 |
|---|---|---|---|
| Fadd9 | adds A | 1 3 5 9 | 3 |
| F | G becomes A | 1 3 5 | 2 |
| Fm | G becomes A♭ | 1 ♭3 5 | 2 |
| Fsus4 | G becomes B♭ | 1 4 5 | 2 |
| Fmaj7 | G becomes A, E | 1 3 5 7 | 2 |
| F7 | G becomes A, E♭ | 1 3 5 ♭7 | 2 |
| Fm7 | G becomes A♭, E♭ | 1 ♭3 5 ♭7 | 2 |
| FmMaj7 | G becomes A♭, E | 1 ♭3 5 7 | 2 |
| F7sus4 | G becomes B♭, E♭ | 1 4 5 ♭7 | 2 |
| F6 | G becomes A, D | 1 3 5 6 | 2 |
| Fm6 | G becomes A♭, D | 1 ♭3 5 6 | 2 |
| Fdim | G, C becomes A♭, C♭ | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| F3 | 53 | 174.61 Hz |
| G3 | 55 | 196.00 Hz |
| C4 | 60 | 261.63 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {5, 7, 0}
- Normal order
- [5, 7, 0]
- 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.