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.
Esus4 is E, A and B — E with the third replaced by the fourth.
It sounds suspended mid-air. Played before the plain chord it is the oldest tension-and-release move there is.

| E | A | B |
|---|---|---|
| 1 | 4 | 5 |
Suspended — classically it resolves down onto the third.
Also written Esus or E suspended 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.
Esus4 has 5 of them, on the top four strings, strings 6-5-4-3-2, the bottom four strings, strings 6-5-4-3-2-1 and the middle four strings, 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 xx2455 — no barre and down at the nut. 2 of the 9 shapes here sit in open position. 2 of the 9 need a barre. Together they cover the neck from the 2nd fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 022200 | open position | E, root position | E | barred |
| 022455 | open position | E, root position | A | 1 open string |
| xx2455 | 2nd fret | E, root position | A | all fretted |
| x7745x | 4th fret | E, root position | E | all fretted |
| x-7-9-9-10-7 | 7th fret | E, root position | B | all fretted |
| x-x-9-9-10-0 | 9th fret | B, 2nd inversion | A | 1 open string |
| 12-x-9-9-10-12 | 9th fret | E, root position | E | all fretted |
| x-x-9-9-10-12 | 9th fret | B, 2nd inversion | E | all fretted |
| 12-14-14-14-12-12 | 12th fret | E, root position | E | barred |
The same notes rebuilt from scratch give 49 triad voicings, each on its own page.
Voice by voice, Esus4 → E. One voice moves by a semitone, and 2 notes are common to both chords.
| In Esus4 | Moves | In E |
|---|---|---|
| E, the root | stays where it is | E, the root |
| A, the fourth | falls a semitone | G#, the major third |
| B, the fifth | stays where it is | B, the fifth |
In which keys. Every note of Esus4 belongs to C major (the iii), 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), A minor (the v) and B minor (the iv).
Every note of Esus4 is in E minor pentatonic, E blues, E major, E mixolydian and E dorian.
Change one note of Esus4 and you have E (the fourth becomes a major third), Em (the fourth becomes a minor third), Esus2 (the fourth becomes a ninth), Esus2sus4 (add the ninth), E5 (drop the fourth) or E7sus4 (add the flat seventh).
Esus4 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 Esus4’s sound and use this page follows Edward Aldwell & Carl Schachter, Harmony and Voice Leading (Schirmer / Cengage, 4th ed., 2011). 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.