Construction
| Note | Interval | Degree |
|---|---|---|
| D♯ | Root | 1 |
| G♯ | Perfect 4th | 4 |
| A♯ | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| D♯ | black | thumb (1) | little finger (5) |
| G♯ | black | middle finger (3) | middle finger (3) |
| A♯ | black | little finger (5) | thumb (1) |
Right hand: thumb (1) on D♯, middle finger (3) on G♯, little finger (5) on A♯.
Left hand: little finger (5) on D♯, middle finger (3) on G♯, thumb (1) on A♯.
D♯ Suspended 4th Inversions
- Root positionD♯ – G♯ – A♯
- 1st inversion (D♯sus4/G♯)G♯ – A♯ – D♯
- 2nd inversion (D♯sus4/A♯)A♯ – D♯ – G♯
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 D♯ Major
These are the triads built on each degree of D♯ Major:
Scales That Include the D♯ Suspended 4th
Same Notes, Other Names
The notes D♯ – G♯ – 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 4th : Frequently Asked Questions
What notes are in D♯sus4?
How do you play D♯sus4 on piano?
What are the inversions of D♯sus4?
What is the difference between D♯sus4 and D♯7sus4?
What is an easy D♯sus4 for small hands?
What are the frequencies of D♯sus4?
What is the set class of D♯sus4?
How do I transpose D♯sus4 to another key?
Is E♭sus4 the same as D♯sus4?
D♯ 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 | D♯3 G♯3 A♯3 | 7 | 96 mm | none | identical | |
| Close, first inversion | G♯3 A♯3 D♯4 | 7 | 96 mm | none | identical | |
| Close, second inversion | A♯3 D♯4 G♯4 | 10 | 138 mm | none | identical | |
| Open, fifth on top | D♯2 A♯2 G♯3 | 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 | D♯3 G♯3 | 5 | 69 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, G♯3, A♯3 | 5/3 | 7 | 96 mm |
| First inversion: D♯sus4/G♯ | G♯ | G♯3, A♯3, D♯4 | 6/3 | 7 | 96 mm |
| Second inversion: D♯sus4/A♯ | A♯ | A♯3, D♯4, G♯4 | 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 |
|---|---|---|---|
| D♯7sus4 | adds C♯ | 1 4 5 ♭7 | 3 |
| D♯ | G♯ becomes F× | 1 3 5 | 2 |
| D♯m | G♯ becomes F♯ | 1 ♭3 5 | 2 |
| D♯sus2 | G♯ becomes E♯ | 1 2 5 | 2 |
| D♯maj7 | G♯ becomes F×, C× | 1 3 5 7 | 2 |
| D♯7 | G♯ becomes F×, C♯ | 1 3 5 ♭7 | 2 |
| D♯m7 | G♯ becomes F♯, C♯ | 1 ♭3 5 ♭7 | 2 |
| D♯mMaj7 | G♯ becomes F♯, C× | 1 ♭3 5 7 | 2 |
| D♯6 | G♯ becomes F×, B♯ | 1 3 5 6 | 2 |
| D♯m6 | G♯ becomes F♯, B♯ | 1 ♭3 5 6 | 2 |
| D♯add9 | G♯ becomes F×, E♯ | 1 3 5 9 | 2 |
| D♯dim | G♯, A♯ becomes F♯, A | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| D♯3 | 51 | 155.56 Hz |
| G♯3 | 56 | 207.65 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, 8, 10}
- Normal order
- [8, 10, 3]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| D♯ to G♯ | Perfect fourth | 5 | 5 |
| D♯ to A♯ | Perfect fifth | 7 | 5 |
| G♯ to A♯ | 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 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.