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.
Csus2sus4 is C, D, F and G — Csus4 with the second added underneath the fourth.
It sounds ringing and deliberately ambiguous. Read another way it is a stack of fourths, which is why it works as a pad rather than as a chord that resolves.

| C | D | F | G |
|---|---|---|---|
| 1 | 2 | 4 | 5 |
Texture more than function — still no third.
Also written Csus2/4 or C suspended 2nd and 4th. 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.
Csus2sus4 has 2 of them, on the top four strings and strings 6-4-3-2, all of them at the 3rd fret — every inversion the chord has: D in the bass and G in the bass. The one to learn first is the D shape at the 3rd fret.
Start with x30011 — no barre and 2 open strings. 2 of the 6 shapes here sit in open position. 3 of the 6 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x33033 | open position | C, root position | G | barred |
| x30011 | open position | C, root position | F | 2 open strings |
| x33533 | 3rd fret | C, root position | G | barred |
| 8857xx | 5th fret | C, root position | D | all fretted |
| 8-8-10-10-8-10 | 8th fret | C, root position | D | barred |
| x-15-12-12-13-13 | 12th fret | C, root position | F | all fretted |
The same notes rebuilt from scratch give 15 drop 2 and 10 drop 3 voicings, each on its own page.
In which keys. Every note of Csus2sus4 belongs to C major (the I), C minor (the i), D minor (the ♭VII), Eb major (the vi), F major (the V), G minor (the iv), A minor (the ♭III) and Bb major (the ii).
Every note of Csus2sus4 is in C major, C mixolydian, C dorian, C natural minor and C harmonic minor.
Change one note of Csus2sus4 and you have Csus2 (drop the fourth), Csus4 (drop the ninth), Cadd9 (the fourth becomes a major third), Cmadd9 (the fourth becomes a minor third), C7sus4 (the ninth becomes a flat seventh) or C11 (add the flat seventh).
Csus2sus4 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 Csus2sus4’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.