The standard grips this chord is usually shown with.
A7sus4 is A, D, E and G — A7 with the third replaced by the fourth.
It sounds leaning rather than shoving. It keeps the flat seventh’s pull and loses the tritone, so it moves without making a hard cadence.
Dominant — it points a fifth down, but softly.

| A | D | E | G |
|---|---|---|---|
| 1 | 4 | 5 | ♭7 |
Also written A7sus or A dominant 7 sus 4. The same chord either way; which spelling you meet depends on who wrote the chart.
A7sus4 in 2nd inversion puts E in the bass instead of A, the 5th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
2 of A7sus4’s 9 common shapes do this:xx2233x-x-14-14-15-15
Play A7sus4 as a shell — root, third and seventh — and the spare string takes the 9 (B) or the 13 (F#).
All 9 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
In a phrase:Em7→A7sus4→Dmaj7— the ii–V–I of D.
Voice by voice, A7sus4 → D. One voice moves by a semitone, and 2 notes are common to both chords.
| In A7sus4 | Moves | In D |
|---|---|---|
| A, the root | stays where it is | A, the fifth |
| D, the fourth | stays where it is | D, the root |
| E, the fifth | falls a whole tone | D, the root |
| G, the flat seventh | falls a semitone | F#, the major third |
In which keys. Every note of A7sus4 belongs to C major (the vi), D major (the V), D minor (the v), E minor (the iv), F major (the iii), G major (the ii), A minor (the i) and B minor (the ♭VII).
Every note of A7sus4 is in A minor pentatonic, A blues, A mixolydian, A dorian and A natural minor.
Change one note of A7sus4 and you have Asus4 (drop the flat seventh), Asus2sus4 (the flat seventh becomes the second), Am7 (the fourth becomes the minor third), A7 (the fourth becomes the major third), A11 (add the ninth) or A/G (the fourth becomes the major third).
A7sus4 is a suspended chord — root and fifth, with a second or fourth where the third would be — or nothing at all. Suspended and power chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.