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.
Gsus2 is G, A and D — G 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.

| G | A | D |
|---|---|---|
| 1 | 2 | 5 |
Suspended — it hangs until something moves.
Also written G2 or G 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.
Gsus2 has 4 of them, on the middle four strings, the bottom four strings, the top four strings and strings 6-4-3-2, from the 3rd fret up to the 5th — every inversion the chord has: A in the bass and D in the bass. The one to learn first is the A shape at the 3rd fret, which is the easiest grip here.
Start with xx5785 — no barre and low, at the 5th fret. 1 of the 10 shapes here sits in open position. 6 of the 10 need a barre. Together they cover the neck from the 2nd fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 300033 | open position | G, root position | G | barred |
| 3xx233 | 2nd fret | G, root position | G | barred |
| 355x35 | 3rd fret | G, root position | A | barred |
| xx5785 | 5th fret | G, root position | A | all fretted |
| x-10-7-7-8-10 | 7th fret | G, root position | D | all fretted |
| x-x-7-7-8-10 | 7th fret | A, 2nd in the bass | D | all fretted |
| x-10-12-12-10-10 | 10th fret | G, root position | D | barred |
| 15-12-12-14-15-x | 12th fret | G, root position | D | all fretted |
| x-12-12-12-15-15 | 12th fret | A, 2nd in the bass | G | barred |
| 15-x-x-14-15-15 | 14th fret | G, root position | G | barred |
The same notes rebuilt from scratch give 48 triad voicings, each on its own page.
Voice by voice, Gsus2 → G. No voice moves by a semitone, and 2 notes are common to both chords.
| In Gsus2 | Moves | In G |
|---|---|---|
| G, the root | stays where it is | G, the root |
| A, the second | falls a whole tone | G, the root |
| D, the fifth | stays where it is | D, the fifth |
In which keys. Every note of Gsus2 belongs to C major (the V), D major (the IV), D minor (the iv), E minor (the ♭III), F major (the ii), G major (the I), G minor (the i), A minor (the ♭VII), Bb major (the vi) and B minor (the ♭VI).
Every note of Gsus2 is in G major pentatonic, G major, G lydian, G mixolydian and G dorian.
Change one note of Gsus2 and you have G (the ninth becomes a major third), Gm (the ninth becomes a minor third), Gsus4 (the ninth becomes a fourth), Gsus2sus4 (add the fourth), Gadd9 (add the major third) or Gmadd9 (add the minor third).
Gsus2 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 Gsus2’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.