C#sus2 is C#, D# and G# — C# 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.

| C# | D# | G# |
|---|---|---|
| 1 | 2 | 5 |
Suspended — it hangs until something moves.
Also written C#2 or C# suspended 2nd. The same chord either way; which spelling you meet depends on who wrote the chart.
C#sus2 in 2nd in bass puts D# in the bass instead of C#, the 2nd 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 C#sus2’s 8 common shapes do this: xx1124, x66699.
Start with xx1124 — no barre and down at the nut. None of the shapes for C#sus2 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 4 of the 8 need a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x41124 | 1st fret | C#, root position | G# | all fretted |
| xx1124 | 1st fret | D#, 2nd in the bass | G# | all fretted |
| x46644 | 4th fret | C#, root position | G# | barred |
| 96689x | 6th fret | C#, root position | G# | all fretted |
| x66699 | 6th fret | D#, 2nd in the bass | C# | barred |
| 9xx899 | 8th fret | C#, root position | C# | barred |
| 9-11-11-x-9-11 | 9th fret | C#, root position | D# | barred |
| x-x-11-13-14-11 | 11th fret | C#, root position | D# | all fretted |
The same notes rebuilt from scratch give 46 triad voicings, each on its own page.
Voice by voice, C#sus2 → C#. No voice moves by a semitone, and 2 notes are common to both chords.
| In C#sus2 | Moves | In C# |
|---|---|---|
| C#, the root | stays where it is | C#, the root |
| D#, the second | falls a whole tone | C#, the root |
| G#, the fifth | stays where it is | G#, the fifth |
In which keys. Every note of C#sus2 belongs to C# major (the I), C# minor (the i), Eb minor (the ♭VII), E major (the vi), F minor (the ♭VI), F# major (the V), Ab major (the IV), Ab minor (the iv), Bb minor (the ♭III) and B major (the ii).
Every note of C#sus2 is in C# major pentatonic, C# major, C# lydian, C# mixolydian and C# dorian.
Change one note of C#sus2 and you have C# (the ninth becomes a major third), C#m (the ninth becomes a minor third), C#sus4 (the ninth becomes a fourth), C#sus2sus4 (add the fourth), C#add9 (add the major third) or C#madd9 (add the minor third).
C#sus2 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 C#sus2’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.