An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful.
Asus2 is A, B and E — A with the third replaced by the second.
It sounds open, and neither major nor minor. With no third it works over either quality, which is why strummed parts lean on it.

| A | B | E |
|---|---|---|
| 1 | 2 | 5 |
Suspended — it hangs until something moves.
Also written A2 or A suspended 2nd. The same chord either way; which spelling you meet depends on who wrote the chart.
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
Asus2 has 6 of them, on the middle four strings, strings 5-4-3-2-1, the top four strings, the bottom four strings, strings 6-4-3-2 and strings 6-5-4-3-2, from the 2nd fret up to the 4th — every inversion the chord has: A in the bass and E in the bass. The one to learn first is the A shape at the 2nd fret, which is the easiest grip here.
Start with x02200 — no barre and 3 open strings. 2 of the 11 shapes here sit in open position. 4 of the 11 need a barre. Together they cover the neck from the 2nd fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x02200 | open position | A, root position | E | 3 open strings |
| x02400 | open position | A, root position | E | 3 open strings |
| 52245x | 2nd fret | A, root position | E | all fretted |
| x22255 | 2nd fret | B, 2nd in the bass | A | barred |
| 5xx455 | 4th fret | A, root position | A | barred |
| 577x57 | 5th fret | A, root position | B | barred |
| x-x-7-9-10-7 | 7th fret | A, root position | B | all fretted |
| x09900 | 9th fret | A, root position | E | 3 open strings |
| x-12-9-9-10-12 | 9th fret | A, root position | E | all fretted |
| x-x-9-9-10-12 | 9th fret | B, 2nd in the bass | E | all fretted |
| x-12-14-14-12-12 | 12th fret | A, root position | E | barred |
The same notes rebuilt from scratch give 49 triad voicings, each on its own page.
Voice by voice, Asus2 → A. No voice moves by a semitone, and 2 notes are common to both chords.
| In Asus2 | Moves | In A |
|---|---|---|
| A, the root | stays where it is | A, the root |
| B, the second | falls a whole tone | A, the root |
| E, the fifth | stays where it is | E, the fifth |
In which keys. Every note of Asus2 belongs to C major (the vi), C# minor (the ♭VI), D major (the V), E major (the IV), E minor (the iv), F# minor (the ♭III), G major (the ii), A major (the I), A minor (the i) and B minor (the ♭VII).
Every note of Asus2 is in A major pentatonic, A major, A lydian, A mixolydian and A dorian.
Change one note of Asus2 and you have A (the ninth becomes a major third), Am (the ninth becomes a minor third), Asus4 (the ninth becomes a fourth), Asus2sus4 (add the fourth), Aadd9 (add the major third) or Amadd9 (add the minor third).
Asus2 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.
On Asus2’s sound and use this page follows Robert Rawlins & Nor Eddine Bahha, Jazzology (Hal Leonard, 2005). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.