Construction
| Note | Interval | Degree |
|---|---|---|
| A | Root | 1 |
| D | Perfect 4th | 4 |
| E | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| A | white | thumb (1) | little finger (5) |
| D | white | 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 (Asus4/D)D – E – A
- 2nd inversion (Asus4/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 notes are in the A Suspended 4th chord?
How does A Suspended 4th differ from Asus2?
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 | A3 D4 E4 | 7 | 96 mm | none | identical | |
| Close, first inversion | D4 E4 A4 | 7 | 96 mm | none | identical | |
| Close, second inversion | E4 A4 D5 | 10 | 138 mm | none | identical | |
| Open, fifth on top | A2 E3 D4 | 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 | A3 D4 | 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 | A3, D4, E4 | 5/3 | 7 | 96 mm |
| First inversion: Asus4/D | D | D4, E4, A4 | 6/3 | 7 | 96 mm |
| Second inversion: Asus4/E | E | E4, A4, D5 | 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 |
|---|---|---|---|
| A7sus4 | adds G | 1 4 5 ♭7 | 3 |
| A | D becomes C♯ | 1 3 5 | 2 |
| Am | D becomes C | 1 ♭3 5 | 2 |
| Asus2 | D becomes B | 1 2 5 | 2 |
| Amaj7 | D becomes C♯, G♯ | 1 3 5 7 | 2 |
| A7 | D becomes C♯, G | 1 3 5 ♭7 | 2 |
| Am7 | D becomes C, G | 1 ♭3 5 ♭7 | 2 |
| AmMaj7 | D becomes C, G♯ | 1 ♭3 5 7 | 2 |
| A6 | D becomes C♯, F♯ | 1 3 5 6 | 2 |
| Am6 | D becomes C, F♯ | 1 ♭3 5 6 | 2 |
| Aadd9 | D becomes C♯, B | 1 3 5 9 | 2 |
| Adim | D, E becomes C, E♭ | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| A3 | 57 | 220.00 Hz |
| D4 | 62 | 293.66 Hz |
| E4 | 64 | 329.63 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {9, 2, 4}
- Normal order
- [2, 4, 9]
- 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.