Construction
| Note | Interval | Degree |
|---|---|---|
| A♯ | Root | 1 |
| D♯ | Perfect 4th | 4 |
| E♯ | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| A♯ | black | thumb (1) | little finger (5) |
| D♯ | black | middle finger (3) | middle finger (3) |
| E♯ | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on A♯, middle finger (3) on D♯, little finger (5) on E♯.
Left hand: little finger (5) on A♯, middle finger (3) on D♯, thumb (1) on E♯.
A♯ Suspended 4th Inversions
- Root positionA♯ – D♯ – E♯
- 1st inversion (A♯sus4/D♯)D♯ – E♯ – A♯
- 2nd inversion (A♯sus4/E♯)E♯ – A♯ – D♯
Key Signature
A Suspended 4th 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 A♯ Major
These are the triads built on each degree of A♯ Major:
Scales That Include the A♯ Suspended 4th
Same Notes, Other Names
The notes A♯ – D♯ – E♯ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
A♯ Suspended 4th : Frequently Asked Questions
What is the A♯ Suspended 4th chord on piano?
What is the A# piano chord?
What notes are in the A# Suspended 4th chord?
How does A# Suspended 4th differ from A#sus2?
What does "sus4" resolve to?
How is A# Suspended 4th used in music?
What songs use suspended 4th chords?
Can I use A# Suspended 4th before A# Major?
A♯ Suspended 4th 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 | A♯3 D♯4 E♯4 | 7 | 96 mm | none | identical | |
| Close, first inversion | D♯4 E♯4 A♯4 | 7 | 96 mm | none | identical | |
| Close, second inversion | E♯4 A♯4 D♯5 | 10 | 138 mm | none | identical | |
| Open, fifth on top | A♯2 E♯3 D♯4 | 17 | 234 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 | A♯3 D♯4 | 5 | 69 mm | omits E♯ | 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 | A♯ | A♯3, D♯4, E♯4 | 5/3 | 7 | 96 mm |
| First inversion: A♯sus4/D♯ | D♯ | D♯4, E♯4, A♯4 | 6/3 | 7 | 96 mm |
| Second inversion: A♯sus4/E♯ | E♯ | E♯4, A♯4, D♯5 | 6/4 | 10 | 138 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 |
|---|---|---|---|
| A♯7sus4 | adds G♯ | 1 4 5 ♭7 | 3 |
| A♯ | D♯ becomes C× | 1 3 5 | 2 |
| A♯m | D♯ becomes C♯ | 1 ♭3 5 | 2 |
| A♯sus2 | D♯ becomes B♯ | 1 2 5 | 2 |
| A♯maj7 | D♯ becomes C×, G× | 1 3 5 7 | 2 |
| A♯7 | D♯ becomes C×, G♯ | 1 3 5 ♭7 | 2 |
| A♯m7 | D♯ becomes C♯, G♯ | 1 ♭3 5 ♭7 | 2 |
| A♯mMaj7 | D♯ becomes C♯, G× | 1 ♭3 5 7 | 2 |
| A♯6 | D♯ becomes C×, F× | 1 3 5 6 | 2 |
| A♯m6 | D♯ becomes C♯, F× | 1 ♭3 5 6 | 2 |
| A♯add9 | D♯ becomes C×, B♯ | 1 3 5 9 | 2 |
| A♯dim | D♯, E♯ becomes C♯, E | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| A♯3 | 58 | 233.08 Hz |
| D♯4 | 63 | 311.13 Hz |
| E♯4 | 65 | 349.23 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {10, 3, 5}
- Normal order
- [3, 5, 10]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| A♯ to D♯ | Perfect fourth | 5 | 5 |
| A♯ to E♯ | Perfect fifth | 7 | 5 |
| D♯ to E♯ | Major second | 2 | 2 |
Where these facts come from
Every value on this page is derived from the note formula for a suspended 4th applied to the root A♯, 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.