Piano Diagram of Asus4 in Root Position
The A suspended fourth (Asus4) chord consists of three notes: A, D, and E. It’s called a “suspended fourth” chord because the third note of the chord is replaced with a perfect fourth. To play the Asus4 chord on a piano, replace the third note (C#) of an A major chord with the fourth note (D) from the root. Further reading will give you a better understanding of the music theory principles behind this essential chord.
Structure of Asus4
Notes |
---|
A, D, E |
Intervals |
---|
R, 4, 5 |
Fingers Position
Left Hand |
---|
4, 2, 1
5, 2, 1 |
Right Hand |
---|
1, 3, 4
1, 4, 5 |
Asus4 Chord Inversions
The Asus4 chord has a total of 2 inversions:
Root Position: | A | D | E |
1st Inversion: | D | E | A |
2nd Inversion: | E | A | D |
Piano Keyboard Diagrams
Asus4 Chord Equivalencies
An interesting detail about sus4 chords is that their 1st inversion results in a sus2 chord. To clarify, when the 4th note of a sus4 chord becomes the root note, it transforms into a sus2 chord.
1st Inversion of Asus4 = Dsus2
For instance, if we take the Asus4 chord with the notes A, D, and E and rearrange them so that D becomes the root note, we end up with a Dsus2 chord with the notes D, E, and A. Therefore, the 1st inversion of Asus4 is equivalent to Dsus2.
Music Theory and Harmony of Asus4
What are Suspended Chords?
Suspended chords are a type of chord in which the third note is replaced by either a major second or a perfect fourth. These 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 distinct sound that sets them apart from major and minor chords. They are called suspended chords 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 Asus4 Chord: Different Approaches
Starting from the A major Scale
To build a sus4 chord, you can use the major scale as a guide and combine a root note, a perfect 4th interval, and a perfect 5th interval.
To create an Asus4 chord, apply the formula R, 4, 5 in the following manner:
- Begin with the Root note, which is A.
- Select the 4th interval, which is D, and add it to the chord.
- Finally, add the 5th interval, which is E.
By following this simple formula, you can create a sus4 chord from any major scale.
by Combining Intervals
One method to create a suspended 4th chord is by combining two specific intervals – a perfect 4th, and a major 2nd.
4 + 2 = sus4 Chords
To illustrate, let’s use the Asus4 chord as an example. By examining the intervals between the notes, we can see that A-D forms a perfect 4th interval, and D-E creates a major second interval.
How to Use Asus4 in a Chord Progression
Suspended chords have a unique quality that sets them apart from major and minor chords. They are considered neither major nor minor, which makes them a great tool for creating tension and suspense in a musical composition before resolving to a stable major or minor chord.
In the following tables, you will find the harmonization of the major and relative natural minor scales for keys that include A major and A minor chords in various positions and different harmonic roles.
Asus4 as Substitute of A Maj Chords
In the key of E Major and C# minor, the 4th note D can clash with the D# and C# notes that are part of those keys. While this doesn’t prevent you from using the Asus4 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 |
---|---|---|---|---|---|---|---|
A | A Maj7 ⇒ Asus4 | B min7 | C# min7 | D Maj7 | E Maj7 | F# min7 | G#m7b5 |
E | E Maj7 | F# min7 | G# min7 | A Maj7 ⇒ Asus4 | B Maj7 | C# min7 | D#m7b5 |
D | D Maj7 | E min7 | F# min7 | G Maj7 | A7 ⇒ Asus4 | B min7 | C#m7b5 |
- Tonic chord in A Major
- Non Diatonic Subdominant chord in E Major
- Dominant chord in D Major
on Natural minor Scales
Minor Scales | i | ii | III | iv | v | VI | VII |
---|---|---|---|---|---|---|---|
F# | F# min7 | G#m7b5 | A Maj7 ⇒ Asus4 | B min7 | C# min7 | D Maj7 | E7 |
C# | C# min7 | D#m7b5 | E Maj7 | F# min7 | G# min7 | A Maj7 ⇒ Asus4 | B7 |
B | B min7 | C#m7b5 | D Maj7 | E min7 | F# min7 | G Maj7 | A7 ⇒ Asus4 |
- Mediant chord in F# minor
- Non Diatonic Submediant chord in C# minor
- Leading tone chord in B minor
Asus4 as Substitute of A min Chords
While the Asus4 chord can be used as a substitute or variation for A minor 7th chords, it’s important to note that an A7sus4 chord would be a better fit due to the presence of the minor 7th.
on Major Scales
Major Scales | I | ii | iii | IV | V | vi | vii |
---|---|---|---|---|---|---|---|
G | G Maj7 | A min7 ⇒ Asus4 | B min7 | C Maj7 | D7 | E min7 | F#m7b5 |
F | F Maj7 | G min7 | A min7 ⇒ Asus4 | Bb Maj7 | C7 | D min7 | Em7b5 |
C | C Maj7 | D min7 | E min7 | F Maj7 | G7 | A min7 ⇒ Asus4 | Bm7b5 |
- Supertonic chord in G Major
- Mediant chord in F Major
- Submediant chord in C Major
on Natural minor Scales
Minor Scales | i | ii | III | iv | v | VI | VII |
---|---|---|---|---|---|---|---|
A | A min7 ⇒ Asus4 | Bm7b5 | C Maj7 | D min7 | E min7 | F Maj7 | G7 |
E | E min7 | F#m7b5 | G Maj7 | A min7 ⇒ Asus4 | B min7 | C Maj7 | D7 |
D | D min7 | Em7b5 | F Maj7 | G min7 | A min7 ⇒ Asus4 | Bb Maj7 | C7 |
- Tonic chord in A minor
- Subdominant chord in E minor
- Dominant chord in D minor
Asus4 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.
Understanding the scale degrees is important for creating chords and understanding how they relate harmonically to each other.
Asus4 in A Major Key
The Asus4 chord can be used along with the A Maj7 chord (or any other kind of A major chord) to add color on the first degree. The Asus4 chord can suspend the A Major chord or the subsequent chord.
I | ii | iii | IV | V | vi | vii |
A Maj7 | B min7 | C# min7 | D Maj7 | E7 | F# min7 | G#m7b5 |
Asus4 Chord Progressions as I degree
ii V I
ii | V | I |
B min7 | E7 | Asus4 | A Maj7 |
I IV V
I | IV | V |
Asus4 | A Maj7 | D Maj7 | E7 |
I V vi IV
I | V | vi | IV |
Asus4 | A Maj7 | E7 | F# min7 | D Maj7 |
I IV vi V
I | IV | vi | V |
Asus4 | A Maj7 | D Maj7 | F# min7 | E7 |
Asus4 in E Major Key (Non Diatonic)
Let’s explore the sound of the Asus4 chord in the key of E major, which can be used as a substitute or variation of the A Maj7 chord on the IV degree. However, it’s important to note that the Asus4 contains a natural D which clashes with the D# or the C# present in this key. Since the Asus4 is not diatonic in this key, it may sound unusual or foreign to the overall tonality.
I | ii | iii | IV | V | vi | vii |
E Maj7 | F#m7b5 | G# min7 | A Maj7 | B7 | C# min7 | D#m7b5 |
Asus4 Chord Progressions as IV degree
I IV V
I | IV | V |
E Maj7 | Asus4 | A Maj7 | B7 |
I V vi IV
I | V | vi | IV |
E Maj7 | B7 | C# min7 | Asus4 | A Maj7 |
I IV vi V
I | IV | vi | V |
E Maj7 | Asus4 | A Maj7 | C# min7 | B7 |
Asus4 in D Major Key
In the key of D Major, the fifth degree features an A7 chord. Adding an Asus4 chord can create tension and expectation, leading to a resolution on the dominant chord. Note that using an A7sus4 chord instead of an Asus4 would be a better option in this case.
I | ii | iii | IV | V | vi | vii |
D Maj7 | E min7 | F# min7 | G Maj7 | A7 | B min7 | C#m7b5 |
Asus4 as V degree – Chord Progressions
ii V I
ii | V | I |
E min7 | Asus4 | A7 | D Maj7 |
I IV V
I | IV | V |
D Maj7 | G Maj7 | Asus4 | A7 |
I V vi IV
I | V | vi | IV |
D Maj7 | Asus4 | A7 | B min7 | G Maj7 |
I IV vi V
I | IV | vi | V |
D Maj7 | G Maj7 | B min7 | Asus4 | A7 |
I IV ii V iii vi ii V
I | IV | ii | V | iii | vi | ii | V |
D Maj7 | G Maj7 | E min7 | Asus4 | A7 | F# min7 | B min7 | E min7 | Asus4 | A7 |
Asus4 in F# Minor Key
Try experimenting with chord progressions featuring an AMaj7 on the III degree of the F# minor scale, and try playing an Asus4 before or after the AMaj7 to see how it sounds.
i | ii | III | iv | v | VI | VII |
F# min7 | G#m7b5 | A Maj7 | B min7 | C# min7 | D Maj7 | E7 |
Asus4 Chord Progressions as III degree
i III
i | III |
F# min7 | Asus4 | A Maj7 |
i III VII VI
i | III | VII | VI |
F# min7 | Asus4 | A Maj7 | E7 | D Maj7 |
i III iv v
i | III | iv | v |
F# min7 | Asus4 | A Maj7 | B min7 | C# min7 |
i III ii v
i | III | ii | v |
F# min7 | Asus4 | A Maj7 | G#m7b5 | C# min7 |
I iii vi V
i | III | VI | iv |
F# min7 | Asus4 | A Maj7 | D Maj7 | B min7 |
Circle Progression
i | iv | VII | III | VI | ii | V7 | i |
F# min7 | B min7 | E7 | Asus4 | A Maj7 | D Maj7 | G#m7b5 | C#7 | F# min7 |
Asus4 in C# Minor Key (Non Diatonic)
In the key of C# minor, the VI degree chord is an A major chord. To add some variation, you can use an Asus4 chord as a substitution or variation of this chord. However, keep in mind that the Asus4 chord is non-diatonic in this key because it contains a natural D while the C# minor scale contains a C# and a D#. Therefore, it’s generally recommended to avoid using the Asus4 chord in this key but feel free to experiment and see how it sounds to your ears.
i | ii | III | iv | v | VI | VII |
C# min7 | D#m7b5 | E Maj7 | F# min7 | G# min7 | A Maj7 | B7 |
Asus4 Chord Progressions as VI degree
i VI VII
i | VI | VII |
C# min7 | Asus4 | A Maj7 | B7 |
i v VI VII
i | v | VI | VII |
C# min7 | G# min7 | Asus4 | A Maj7 | B7 |
i III VII VI
i | III | VII | VI |
C# min7 | E Maj7 | B7 | Asus4 | A Maj7 |
Circle Progression
i | iv | VII | III | VI | ii | V7 | i |
C# min7 | F# min7 | B7 | E Maj7 | Asus4 | A Maj7 | D#m7b5 | G#7 | C# min7 |
Asus4 in B Minor Key
Let’s explore the use of Asus4 as a leading tone chord in the key of B minor. As the leading tone chord, Asus4 can create tension and lead the listener’s ear to the tonic chord, which is B minor in this case.
i | ii | III | iv | v | VI | VII |
B min7 | C#m7b5 | D Maj7 | E min7 | F# min7 | G Maj7 | A7 |
Asus4 as VII degree – Chord Progressions
i VI VII
i | V | VII |
B min7 | F# min7 | Asus4 | A7 |
i v VI VII
i | v | VI | VII |
B min7 | F# min7 | G Maj7 | A7 | Asus4 |
i III VII VI
i | III | VII | VI |
B min7 | D Maj7 | Asus4 | A7 | G Maj7 |
Circle Progression
i | iv | VII | III | VI | ii | V7 | i |
B min7 | E min7 | Asus4 | A7 | D Maj7 | G Maj7 | C#m7b5 | F#7 | B min7 |
Asus4 in G Major Key
In the key of G Major, the supertonic chord is an A minor. However, we can use an Asus4 chord as a variation or substitution for the Am chord to add some tonal color and interest to a chord progression.
I | ii | iii | IV | V | vi | vii |
G Maj7 | A min7 | B min7 | C Maj7 | D7 | E min7 | F#m7b5 |
Asus4 Chord Progressions as ii degree
ii V I
ii | V | I |
Asus4 | A min7 | D7 | G Maj7 |
I IV ii V iii vi ii V
I | IV | ii | V | iii | vi | ii | V |
G Maj7 | C Maj7 | Asus4 | A min7 | D7 | B min7 | E min7 | Amin7 | Asus4 | D7 |
Asus4 in F Major Key
In the key of F Major, the Asus4 chord can be used on the III degree.
I | ii | iii | IV | V | vi | vii |
F Maj7 | G min7 | A min7 | Bb Maj7 | C7 | D min7 | E m7b5 |
Asus4 Chord Progressions as iii degree
I iii IV V
I | iii | IV | V |
F Maj7 | Asus4 | A min7 | Bb Maj7 | C7 |
I iii ii V
I | iii | ii | V |
F Maj7 | Asus4 | A min7 | G min7 | C7 |
I iii vi IV
I | iii | vi | IV |
F Maj7 | Asus4 | A min7 | D min7 | Bb Maj7 |
Asus4 in C Major Key
Let’s explore how the Asus4 chord can function as a submediant chord in the key of C major. You can try incorporating it into chord progressions that feature an Am chord on the VI degree.
I | ii | iii | IV | V | vi | vii |
C Maj7 | D min7 | E min7 | F Maj7 | G7 | A min7 | B m7b5 |
Asus4 as vi degree – Chord Progressions
I iii vi V
I | iii | vi | V |
C Maj7 | E min7 | Asus4 | A min7 | G7 |
I vi ii V
I | vi | ii | V |
C Maj7 | Asus4 | A min7 | D min7 | G7 |
I IV ii V iii vi ii V
I | IV | ii | V | iii | vi | ii | V |
C Maj7 | F Maj7 | D min7 | G7 | E min7 | Asus4 | A min7 | D min7 | G7 |
Asus4 in A Minor Key
When using the Asus4 chord in the key of A minor, it can be a great variation for the traditional Am chord. It creates a more ambiguous sound due to its suspended nature, but it can be used to add tension or to create a unique texture in a chord progression.
i | ii | III | iv | v | VI | VII |
A min7 | B m7b5 | C Maj7 | D min7 | E min7 | F Maj7 | G7 |
Asus4 Chord Progressions as i degree
i VI VII
i | VI | VII |
Asus4 | A min7 | F Maj7 | G7 |
Modulation
isus4 | i | isus2 | i |
Asus4
A (E, A, D) |
A min
A (E, A, C) |
Asus2
A (E, A, B) |
A min
A (E, A, C) |
Use your left hand to play the A root note, and your right hand to play the remaining notes of the chord.
i iv VI VII
i | iv | VI | VII |
Asus4 | D min7 | F Maj7 | G7 |
Asus4 in E Minor Key
In the E minor key, the IV degree is A major, which can be replaced or varied with an Asus4 chord.
i | ii | III | iv | v | VI | VII |
E min7 | F# m7b5 | G Maj7 | A min7 | B min7 | C Maj7 | D7 |
Asus4 Chord Progressions as iv degree
iv III VI VII
iv | III | VI | VII |
Asus4 | A min7 | G Maj7 | C Maj7 | D7 |
i iv VI v
i | iv | VI | v |
E min7 | Asus4 | A min7 | C Maj7 | B min7 |
Asus4 in D Minor Key
In the key of D minor, the Asus4 chord can be used on the v (fifth) degree.
i | ii | III | iv | v | VI | VII |
D min7 | Em7b5 | F Maj7 | G min7 | A min7 | Bb Maj7 | C7 |
Asus4 as v degree – Chord Progressions
i iv VI v
i | iv | VI | v |
D min7 | G min7 | Bb Maj7 | Asus4 | A min7 |
i v VI VII
i | v | VI | VII |
D min7 | Asus4 | A min7 | Bb Maj7 | C7 |
i VI v iv
i | VI | v | iv |
D min7 | Bb Maj7 | Asus4 | A min7 | G min7 |
Alternative Names for Asus4
- Asus4
- Asus(4)
- A add4(no3)
- A add4(omit3)
- A Suspended 4th
Conclusion
While the chord progressions and examples in this post offer a comprehensive overview of common uses for the Asus4 chord, space constraints prevent a full exploration of advanced harmony topics. These include chord progressions based on scales, modal interchange, and jazz harmony. However, I encourage readers to continue studying and exploring to gain a deeper understanding of the harmonic possibilities beyond the basic concepts presented here. You can unlock a wide range of musical expressions and expand your creativity.
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!