Construction
| Note | Interval | Degree |
|---|---|---|
| E | Root | 1 |
| A | Perfect 4th | 4 |
| B | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| E | white | thumb (1) | little finger (5) |
| A | white | middle finger (3) | middle finger (3) |
| B | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on E, middle finger (3) on A, little finger (5) on B.
Left hand: little finger (5) on E, middle finger (3) on A, thumb (1) on B.
E Suspended 4th Inversions
- Root positionE – A – B
- 1st inversion (Esus4/A)A – B – E
- 2nd inversion (Esus4/B)B – E – A
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 E Major
These are the triads built on each degree of E Major:
Scales That Include the E Suspended 4th
Same Notes, Other Names
The notes E – A – B aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
E Suspended 4th : Frequently Asked Questions
What is the E Suspended 4th chord on piano?
What notes are in the E Suspended 4th chord?
How does E Suspended 4th differ from Esus2?
What does "sus4" resolve to?
How is E Suspended 4th used in music?
What songs use suspended 4th chords?
Can I use E Suspended 4th before E Major?
E 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 | E3 A3 B3 | 7 | 96 mm | none | identical | |
| Close, first inversion | A3 B3 E4 | 7 | 96 mm | none | identical | |
| Close, second inversion | B3 E4 A4 | 10 | 138 mm | none | identical | |
| Open, fifth on top | E2 B2 A3 | 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 | E3 A3 | 5 | 69 mm | omits B | 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 | E | E3, A3, B3 | 5/3 | 7 | 96 mm |
| First inversion: Esus4/A | A | A3, B3, E4 | 6/3 | 7 | 96 mm |
| Second inversion: Esus4/B | B | B3, E4, A4 | 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 |
|---|---|---|---|
| E7sus4 | adds D | 1 4 5 ♭7 | 3 |
| E | A becomes G♯ | 1 3 5 | 2 |
| Em | A becomes G | 1 ♭3 5 | 2 |
| Esus2 | A becomes F♯ | 1 2 5 | 2 |
| Emaj7 | A becomes G♯, D♯ | 1 3 5 7 | 2 |
| E7 | A becomes G♯, D | 1 3 5 ♭7 | 2 |
| Em7 | A becomes G, D | 1 ♭3 5 ♭7 | 2 |
| EmMaj7 | A becomes G, D♯ | 1 ♭3 5 7 | 2 |
| E6 | A becomes G♯, C♯ | 1 3 5 6 | 2 |
| Em6 | A becomes G, C♯ | 1 ♭3 5 6 | 2 |
| Eadd9 | A becomes G♯, F♯ | 1 3 5 9 | 2 |
| Edim | A, B becomes G, B♭ | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| E3 | 52 | 164.81 Hz |
| A3 | 57 | 220.00 Hz |
| B3 | 59 | 246.94 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {4, 9, 11}
- Normal order
- [9, 11, 4]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| E to A | Perfect fourth | 5 | 5 |
| E to B | Perfect fifth | 7 | 5 |
| A to B | 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 E, 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.