Construction
| Note | Interval | Degree |
|---|---|---|
| G | Root | 1 |
| C | Perfect 4th | 4 |
| D | Perfect 5th | 5 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| G | white | thumb (1) | little finger (5) |
| C | white | middle finger (3) | middle finger (3) |
| D | white | little finger (5) | thumb (1) |
Right hand: thumb (1) on G, middle finger (3) on C, little finger (5) on D.
Left hand: little finger (5) on G, middle finger (3) on C, thumb (1) on D.
G Suspended 4th Inversions
- Root positionG – C – D
- 1st inversion (Gsus4/C)C – D – G
- 2nd inversion (Gsus4/D)D – G – C
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 G Major
These are the triads built on each degree of G Major:
Scales That Include the G Suspended 4th
Same Notes, Other Names
The notes G – C – D aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell:
G Suspended 4th : Frequently Asked Questions
What is the G Suspended 4th chord on piano?
What notes are in the G Suspended 4th chord?
How does G Suspended 4th differ from Gsus2?
What does "sus4" resolve to?
How is G Suspended 4th used in music?
What songs use suspended 4th chords?
Can I use G Suspended 4th before G Major?
G 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 | G3 C4 D4 | 7 | 96 mm | none | identical | |
| Close, first inversion | C4 D4 G4 | 7 | 96 mm | none | identical | |
| Close, second inversion | D4 G4 C5 | 10 | 138 mm | none | identical | |
| Open, fifth on top | G2 D3 C4 | 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 | G3 C4 | 5 | 69 mm | omits D | 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 | G | G3, C4, D4 | 5/3 | 7 | 96 mm |
| First inversion: Gsus4/C | C | C4, D4, G4 | 6/3 | 7 | 96 mm |
| Second inversion: Gsus4/D | D | D4, G4, C5 | 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 |
|---|---|---|---|
| G7sus4 | adds F | 1 4 5 ♭7 | 3 |
| G | C becomes B | 1 3 5 | 2 |
| Gm | C becomes B♭ | 1 ♭3 5 | 2 |
| Gsus2 | C becomes A | 1 2 5 | 2 |
| Gmaj7 | C becomes B, F♯ | 1 3 5 7 | 2 |
| G7 | C becomes B, F | 1 3 5 ♭7 | 2 |
| Gm7 | C becomes B♭, F | 1 ♭3 5 ♭7 | 2 |
| GmMaj7 | C becomes B♭, F♯ | 1 ♭3 5 7 | 2 |
| G6 | C becomes B, E | 1 3 5 6 | 2 |
| Gm6 | C becomes B♭, E | 1 ♭3 5 6 | 2 |
| Gadd9 | C becomes B, A | 1 3 5 9 | 2 |
| Gdim | C, D becomes B♭, D♭ | 1 ♭3 ♭5 | 1 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| G3 | 55 | 196.00 Hz |
| C4 | 60 | 261.63 Hz |
| D4 | 62 | 293.66 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {7, 0, 2}
- Normal order
- [0, 2, 7]
- Prime form
- (027)
- Forte number
- 3-9
- Interval vector
- <010020>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| G to C | Perfect fourth | 5 | 5 |
| G to D | Perfect fifth | 7 | 5 |
| C to D | 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 G, 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.