Piano Diagram of Dbsus2 in Root Position
The Dbsus2 chord consists of three notes: Db, Eb, and Ab. This chord is known as a suspended second chord, where the third note of the chord is replaced by a major second. To play the Dbsus2 chord on a piano, simply replace the third note of a Db major chord (F) with the major second (Eb). Keep reading to get a better grip on the music theory behind this chord.
Structure of Dbsus2
Notes |
---|
Db, Eb, Ab |
Intervals |
---|
R, 2, 5 |
Fingers Position
Left Hand |
---|
4, 3, 1
3, 2, 1 |
Right Hand |
---|
1, 2, 3
1, 2, 4 |
Dbsus2 Chord Inversions
The Dbsus2 chord has a total of 2 inversions:
Root Position: | Db | Eb | Ab |
1st Inversion: | Eb | Ab | Db |
2nd Inversion: | Ab | Db | Eb |
Piano Keyboard Diagrams
Dbsus2 Chord Equivalencies
An interesting detail about sus2 chords is that their 2nd inversion results in a sus4 chord. To clarify, when the 5th note of a sus2 chord becomes the root note, it transforms into a sus4 chord.
2nd Inversion of Dbsus2 = Absus4
For instance, if we take the Dbsus2 chord with the notes Db, Eb, and Ab and rearrange them so that Ab becomes the root note, we end up with an Absus4 chord with the notes Ab, Db, and Eb. Therefore, the 2nd inversion of Dbsus2 is equivalent to Absus4.
Music Theory and Harmony of Dbsus2
What are Suspended Chords?
In suspended chords, the third note is replaced by either a major second or a perfect fourth. The resulting chords are called suspended second (sus2) or suspended fourth (sus4) chords, respectively. These chords create a unique and sometimes unresolved sound that can add tension and interest to a musical composition.
Suspended chords have a distinctive sound that sets them apart from major and minor chords. They are so-called because they temporarily suspend the listener’s expectation of hearing a major or minor stable chord. Instead, they feature a perfect fourth or major second interval in place of the third. Due to their “neutral nature”, suspended chords can sometimes be used as substitutes for both, major and minor chords.
Building the Dbsus2 Chord: Different Approaches
Starting from the Db major Scale
To build a sus2 chord, you can use the major scale as a guide and combine a root note, a major 2nd interval, and a perfect 5th interval. For example, to form a Dbsus2 chord, you can begin with the Db major scale, which includes the notes Db, Eb, F, Gb, Ab, Bb, and C.
To create a Dbsus2 chord, apply the formula R, 2, 5 in the following manner:
- Begin with the Root note, which is Db.
- Select the major 2nd interval, which is Eb, and add it to the chord.
- Finally, add the 5th interval, which is Ab.
By following this simple formula, you can create a sus2 chord from any major scale.
by Combining Intervals
One method to create a suspended 2nd chord is by combining two specific intervals – a major 2nd, and a perfect 4th.
2 + 4 = sus2 Chords
To illustrate, let’s use the Dbsus2 chord as an example. By examining the intervals between the notes, we can see that Db-Eb forms a major 2nd interval (a whole tone), and Eb-Ab creates a perfect 4th interval.
How to Use Dbsus2 in a Chord Progression
Suspended second (sus2) chords are neither major nor minor, making them a great option to create tension and suspense before resolving to major and minor chords.
The tables below show the harmonization of major and relative natural minor scales for keys that include Db major (including Db7 chords) and Db minor chords in various positions and different harmonic roles.
Dbsus2 as Substitute of Db Maj Chords
on Major Scales
Major Scales | I | ii | iii | IV | V | vi | vii |
---|---|---|---|---|---|---|---|
Db | Db Maj7 ⇒ Dbsus2 | Eb min7 | F min7 | Gb Maj7 | Ab Maj7 | Bb min7 | Cm7b5 |
Ab | Ab Maj7 | Bb min7 | C min7 | Db Maj7 ⇒ Dbsus2 | Eb Maj7 | F min7 | Gm7b5 |
Gb | Gb Maj7 | Ab min7 | Bb min7 | Cb Maj7 | Db7 ⇒ Dbsus2 | Eb min7 | Fm7b5 |
- Tonic chord in Db Major
- Subdominant chord in Ab Major
- Dominant chord in Gb Major
on Natural minor Scales
Minor Scales | i | ii | III | iv | v | VI | VII |
---|---|---|---|---|---|---|---|
Bb | Bb min7 | Cm7b5 | Db Maj7 ⇒ Dbsus2 | Eb min7 | F min7 | Gb Maj7 | Ab7 |
F | F min7 | Gm7b5 | Ab Maj7 | Bb min7 | C min7 | Db Maj7 ⇒ Dbsus2 | Eb7 |
Eb | Eb min7 | Fm7b5 | Gb Maj7 | Ab min7 | Bb min7 | Cb Maj7 | Db7 ⇒ Dbsus2 |
- Mediant chord in Bb minor
- Submediant chord in F minor
- Leading tone chord in Eb minor
Dbsus2 as Substitute of Db min Chords
In the key of A Major and Gb minor, the note Eb can clash with the D and E that are part of those keys. While this doesn’t prevent you from using the Dbsus2 chord in those positions, it’s important to be aware that it can create a strong dissonance with the melody or other elements of the composition.
on Major Scales
Major Scales | I | ii | iii | IV | V | vi | vii |
---|---|---|---|---|---|---|---|
Cb = B | B Maj7 | C# min7 ⇒ C#sus2 = Dbsus2 | D# min7 | E Maj7 | F#7 | G# min7 | A#m7b5 |
Bbb = A | A Maj7 | B min7 | C# min7 ⇒ C#sus2 = Dbsus2 | D Maj7 | E7 | F# min7 | G#m7b5 |
Fb = E | E Maj7 | F# min7 | G# min7 | A Maj7 | B7 | C# min7 ⇒ C#sus2 = Dbsus2 | D#m7b5 |
- Supertonic chord in B Major as C#sus2
- Non Diatonic Mediant chord in A Major as C#sus2
- Submediant chord in E Major as C#sus2
on Natural minor Scales
Minor Scales | i | ii | III | iv | v | VI | VII |
---|---|---|---|---|---|---|---|
Db = C# | C# min7 ⇒ C#sus2 = Dbsus2 | D#m7b5 | E Maj7 | F# min7 | G# min7 | A Maj7 | B7 |
Ab | Ab min7 | Bbm7b5 | Cb Maj7 | Db min7 ⇒ Dbsus2 | Eb min7 | Fb Maj7 | Gb7 |
Gb = F# | F# min7 | G#m7b5 | A Maj7 | B min7 | C# min7 ⇒ C#sus2 = Dbsus2 | D Maj7 | E7 |
- Tonic chord in C# minor as C#sus2
- Subdominant chord in Ab minor
- Non Diatonic Dominant chord in F# minor as C#sus2
Dbsus2 Chord Function in Major and Minor Keys
Understanding Scale Degrees
When creating chords from a scale, each note in the scale is assigned a degree, which reflects its position in the scale. In the diatonic major scale, there are seven degrees, and each degree has a unique role in the overall harmony of the scale.
- The first degree of the scale is called the Tonic, and it serves as the foundation for the scale. It provides a stable tonal center and is often referred to as the “home base” of the music.
- The second degree of the scale is called the Supertonic. It’s typically used as a passing note between the tonic and other scale degrees, and it adds a sense of movement to the melody or harmony.
- The third degree of the scale is called the Mediant. It’s located halfway between the tonic and dominant notes and helps to establish whether the scale is major or minor.
- The fourth degree of the scale is called the Subdominant. It’s often used as a complementary harmony to the dominant and adds a sense of tension and resolution to the music.
- The fifth degree of the scale is called the Dominant. It generates tension and a sense of expectation, and it’s typically resolved by returning to the tonic.
- The sixth degree of the scale is called the Submediant. It’s often utilized as a transition between the dominant and tonic, and it provides a sense of stability and restfulness to the music.
- The seventh degree of the scale is called the Leading tone. It’s located one half step below the tonic and produces a strong sense of tension and a desire to resolve to the tonic. It’s often used to create a sense of resolution and finality in the melody or harmony.
Dbsus2 in Db Major
The Dbsus2 chord can be used along with the Db Maj7 chord (or any other kind of Db major chord) on the first degree to create movement in a chord progression. The Dbsus2 chord can suspend the Db Major chord or the subsequent chord.
I | ii | iii | IV | V | vi | vii |
Db Maj7 | Eb min7 | F min7 | Gb Maj7 | Ab7 | Bb min7 | Cm7b5 |
Dbsus2 Chord Progressions as I degree
ii V I
ii | V | I |
Eb min7 | Ab7 | Dbsus2 | Db Maj7 |
I IV V
I | IV | V |
Dbsus2 | Db Maj7 | Gb Maj7 | Ab7 |
I V vi IV
I | V | vi | IV |
Dbsus2 | Db Maj7 | Ab7 | Bb min7 | Gb Maj7 |
I IV vi V
I | IV | vi | V |
Dbsus2 | Db Maj7 | Gb Maj7 | Bb min7 | Ab7 |
Dbsus2 in Ab Major
Let’s find out how the Dbsus2 chord sounds in the Ab major key as a substitution or variation of the Db Maj7 chord on the IV degree.
I | ii | iii | IV | V | vi | vii |
Ab Maj7 | Bb min7 | C min7 | Db Maj7 | Eb7 | F min7 | Gm7b5 |
Dbsus2 Chord Progressions as IV degree
I IV V
I | IV | V |
Ab Maj7 | Dbsus2 | Db Maj7 | Eb7 |
I V vi IV
I | V | vi | IV |
Ab Maj7 | Eb7 | F min7 | Dbsus2 | Db Maj7 |
I IV vi V
I | IV | vi | V |
Ab Maj7 | Dbsus2 | Db Maj7 | F min7 | Eb7 |
Dbsus2 in Gb Major
In the key of Gb Major, the fifth degree it features a Db7 chord. Adding a Dbsus2 chord can create tension and expectation, leading to a resolution on the dominant chord.
I | ii | iii | IV | V | vi | vii |
Gb Maj7 | Ab min7 | Bb min7 | Cb Maj7 | Db7 | Eb min7 | Fm7b5 |
Dbsus2 as V degree – Chord Progressions
ii V I
ii | V | I |
Ab min7 | Dbsus2 | Db7 | Gb Maj7 |
I IV V
I | IV | V |
Gb Maj7 | Cb Maj7 | Dbsus2 | Db7 |
I V vi IV
I | V | vi | IV |
Gb Maj7 | Dbsus2 | Db7 | Eb min7 | Cb Maj7 |
I IV vi V
I | IV | vi | V |
Gb Maj7 | Cb Maj7 | Eb min7 | Dbsus2 | Db7 |
I IV ii V iii vi ii V
I | IV | ii | V | iii | vi | ii | V |
Gb Maj7 | Cb Maj7 | Ab min7 | Dbsus2 | Db7 | Bb min7 | Eb min7 | Ab min7 | Dbsus2 | Db7 |
Dbsus2 in Bb Minor
Try experimenting with chord progressions featuring a Db Maj7 on the III degree of the Bb minor scale, and try playing a Dbsus2 before or after the Db Maj7 to see how it sounds.
i | ii | III | iv | v | VI | VII |
Bb min7 | Cm7b5 | Db Maj7 | Eb min7 | F min7 | Gb Maj7 | Ab7 |
Dbsus2 Chord Progressions as III degree
i III
i | III |
Bb min7 | Dbsus2 | Db Maj7 |
i III VII VI
i | III | VII | VI |
Bb min7 | Dbsus2 | Db Maj7 | Ab7 | Gb Maj7 |
i III iv v
i | III | iv | v |
Bb min7 | Dbsus2 | Db Maj7 | Eb min7 | F min7 |
i III ii v
i | III | ii | v |
Bb min7 | Dbsus2 | Db Maj7 | Cm7b5 | F min7 |
I iii vi V
i | III | VI | iv |
Bb min7 | Dbsus2 | Db Maj7 | Gb Maj7 | Eb min7 |
Circle Progression
i | iv | VII | III | VI | ii | V7 | i |
Bb min7 | Eb min7 | Ab7 | Dbsus2 | Db Maj7 | Gb Maj7 | Cm7b5 | F7 | Bb min7 |
Dbsus2 in F Minor
In the key of F minor, the VI degree chord is a Db major chord. You can use a Dbsus2 chord as a variation or substitution of this chord. Try using the Dbsus2 chord before or after the Db major chord in your chord progressions to add interest and variation.
i | ii | III | iv | v | VI | VII |
F min7 | Gm7b5 | Ab Maj7 | Bb min7 | C min7 | Db Maj7 | Eb7 |
Dbsus2 Chord Progressions as VI degree
i VI VII
i | VI | VII |
F min7 | Dbsus2 | Db Maj7 | Eb7 |
i v VI VII
i | v | VI | VII |
F min7 | C min7 | Dbsus2 | Db Maj7 | Eb7 |
i III VII VI
i | III | VII | VI |
F min7 | Ab Maj7 | Eb7 | Dbsus2 | Db Maj7 |
Circle Progression
i | iv | VII | III | VI | ii | V7 | i |
F min7 | Bb min7 | Eb7 | Ab Maj7 | Dbsus2 | Db Maj7 | Gm7b5 | C7 | F min7 |
Dbsus2 in Eb Minor
Let’s explore the use of Dbsus2 as a leading tone chord in the key of Eb minor. As the leading tone chord, Dbsus2 can create tension and lead the listener’s ear to the tonic chord, which is Eb minor in this case.
i | ii | III | iv | v | VI | VII |
Eb min7 | Fm7b5 | Gb Maj7 | Ab min7 | Bb min7 | Cb Maj7 | Db7 |
Dbsus2 as VII degree – Chord Progressions
i VI VII
i | V | VII |
Eb min7 | Bb min7 | Dbsus2 | Db7 |
i v VI VII
i | v | VI | VII |
Eb min7 | Bb min7 | Cb Maj7 | Dbsus2 | Db7 |
i III VII VI
i | III | VII | VI |
Eb min7 | Gb Maj7 | Dbsus2 | Db7 | Cb Maj7 |
Circle Progression
i | iv | VII | III | VI | ii | V7 | i |
Eb min7 | Ab min7 | Dbsus2 | Db7 | Gb Maj7 | Cb Maj7 | Fm7b5 | Bb7 | Eb min7 |
Dbsus2 in Cb Major
Check C#sus2 in B Major
Dbsus2 in Bbb Major (Non diatonic)
Check C#sus2 in A Major
Dbsus2 in Fb Major
Check C#sus2 in E Major
Dbsus2 in Db Minor
Check C#sus2 in C# minor
Dbsus2 in Ab Minor
In the Ab minor scale, the IV degree is Db major, which can be replaced or varied by a Dbsus2 chord.
i | ii | III | iv | v | VI | VII |
Ab min7 | Bbm7b5 | Cb Maj7 | Db min7 | Eb min7 | Fb Maj7 | Gb7 |
Dbsus2 Chord Progressions as iv degree
iv III VI VII
iv | III | VI | VII |
Dbsus2 | Dbm7 | Cb Maj7 | Fb Maj7 | Gb7 |
i iv VI v
i | iv | VI | v |
Ab min7 | Dbsus2 | Dbm7 | Fb Maj7 | Eb min7 |
Dbsus2 in Gb Minor (Non Diatonic)
Check C#sus2 in F# minor
Alternative Names for Dbsus2 Chord
- Dbsus2
- Dbsus(2)
- Db add2(no3)
- Db add2(omit3)
- Db Suspended 2nd
Conclusion
While the chord progressions and examples in this post offer a comprehensive overview of common uses for the Dbsus2 chord, space constraints prevent a full exploration of advanced harmony topics. These include chord progressions based on scales, modal interchange, and jazz harmony. However, readers are encouraged to continue their studies to gain a deeper understanding of the harmonic possibilities beyond the basics presented here.
I hope this post has been informative and helpful in your music theory journey. Keep exploring and creating music, and don’t forget to have some fun along the way!