Construction
| Note | Interval | Degree |
|---|---|---|
| F | Root | 1 |
| B♭ | Perfect 4th | 4 |
| C | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| F | white | thumb (1) | little finger (5) |
| B♭ | black | middle finger (3) | middle finger (3) |
| C | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on F, middle finger (3) on B♭, little finger (5) on C.
Left hand: little finger (5) on F, middle finger (3) on B♭, thumb (1) on C.
F Suspended 4th Inversions
- Root positionF – B♭ – C
- 1st inversion (Fsus4/B♭)B♭ – C – F
- 2nd inversion (Fsus4/C)C – F – B♭
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 F Major
These are the triads built on each degree of F Major:
Scales That Include the F Suspended 4th
Same Notes, Other Names
The notes F – B♭ – 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 4th : Frequently Asked Questions
What is the F Suspended 4th chord on piano?
What notes are in the F Suspended 4th chord?
How does F Suspended 4th differ from Fsus2?
What does "sus4" resolve to?
How is F Suspended 4th used in music?
What songs use suspended 4th chords?
Can I use F Suspended 4th before F Major?
F 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 | F3 B♭3 C4 | 7 | 96 mm | none | identical | |
| Close, first inversion | B♭3 C4 F4 | 7 | 96 mm | none | identical | |
| Close, second inversion | C4 F4 B♭4 | 10 | 138 mm | none | identical | |
| Open, fifth on top | F2 C3 B♭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 | F3 B♭3 | 5 | 69 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, B♭3, C4 | 5/3 | 7 | 96 mm |
| First inversion: Fsus4/B♭ | B♭ | B♭3, C4, F4 | 6/3 | 7 | 96 mm |
| Second inversion: Fsus4/C | C | C4, F4, B♭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 |
|---|---|---|---|
| F7sus4 | adds E♭ | 1 4 5 ♭7 | 3 |
| F | B♭ becomes A | 1 3 5 | 2 |
| Fm | B♭ becomes A♭ | 1 ♭3 5 | 2 |
| Fsus2 | B♭ becomes G | 1 2 5 | 2 |
| Fmaj7 | B♭ becomes A, E | 1 3 5 7 | 2 |
| F7 | B♭ becomes A, E♭ | 1 3 5 ♭7 | 2 |
| Fm7 | B♭ becomes A♭, E♭ | 1 ♭3 5 ♭7 | 2 |
| FmMaj7 | B♭ becomes A♭, E | 1 ♭3 5 7 | 2 |
| F6 | B♭ becomes A, D | 1 3 5 6 | 2 |
| Fm6 | B♭ becomes A♭, D | 1 ♭3 5 6 | 2 |
| Fadd9 | B♭ becomes A, G | 1 3 5 9 | 2 |
| Fdim | B♭, C becomes A♭, C♭ | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| F3 | 53 | 174.61 Hz |
| B♭3 | 58 | 233.08 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, 10, 0}
- Normal order
- [10, 0, 5]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| F to B♭ | Perfect fourth | 5 | 5 |
| F to C | Perfect fifth | 7 | 5 |
| B♭ to C | 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 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.