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.
Esus2sus4 is E, F#, A and B — Esus4 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.

| E | F# | A | B |
|---|---|---|---|
| 1 | 2 | 4 | 5 |
Texture more than function — still no third.
Also written Esus2/4 or E 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.
Esus2sus4 has 6 of them, on the bottom four strings, strings 6-5-4-3-2, strings 6-4-3-2-1, strings 5-4-3-2-1, the top four strings and strings 6-5-4-3-2-1, from the 2nd fret up to the 4th — every inversion the chord has: E in the bass and A in the bass. The one to learn first is the E shape at the 2nd fret, which is the easiest grip here.
Start with x74455 — no barre and low, at the 4th fret. 2 of the 6 shapes here sit in open position. 4 of the 6 need a barre. Together they cover the neck from the 2nd fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 002202 | open position | E, root position | F# | barred |
| 022202 | open position | E, root position | F# | barred |
| x74455 | 4th fret | E, root position | A | all fretted |
| x77977 | 7th fret | E, root position | B | barred |
| 12-12-9-11-x-x | 9th fret | E, root position | F# | all fretted |
| 12-12-14-14-12-14 | 12th fret | E, root position | F# | barred |
The same notes rebuilt from scratch give 14 drop 2 and 9 drop 3 voicings, each on its own page.
In which keys. Every note of Esus2sus4 belongs to C# minor (the ♭III), D major (the ii), E major (the I), E minor (the i), F# minor (the ♭VII), G major (the vi), A major (the V) and B minor (the iv).
Every note of Esus2sus4 is in E major, E mixolydian, E dorian, E natural minor and E harmonic minor.
Change one note of Esus2sus4 and you have Esus2 (drop the fourth), Esus4 (drop the ninth), Eadd9 (the fourth becomes a major third), E7sus4 (the ninth becomes a flat seventh), E11 (add the flat seventh) or E/F# (the fourth becomes a major third).
Esus2sus4 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 Esus2sus4’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.