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.
Gsus4 is G, C and D — G 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.

| G | C | D |
|---|---|---|
| 1 | 4 | 5 |
Suspended — classically it resolves down onto the third.
Also written Gsus or G 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.
Gsus4 has 1 of them, only on the bottom four strings, all of them at the 3rd fret — all in one inversion, so the bass note never moves. The one to learn first is the G shape at the 3rd fret, which is the easiest grip here.
Start with xx5788 — no barre and low, at the 5th fret. 1 of the 7 shapes here sits in open position. 2 of the 7 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 330013 | open position | G, root position | G | barred |
| 355533 | 3rd fret | G, root position | G | barred |
| xx5788 | 5th fret | G, root position | C | all fretted |
| x-10-10-7-8-x | 7th fret | G, root position | G | all fretted |
| x-10-12-12-13-10 | 10th fret | G, root position | D | all fretted |
| 15-x-12-12-13-15 | 12th fret | G, root position | G | all fretted |
| x-x-12-12-13-15 | 12th fret | D, 2nd inversion | G | all fretted |
The same notes rebuilt from scratch give 49 triad voicings, each on its own page.
Voice by voice, Gsus4 → G. One voice moves by a semitone, and 2 notes are common to both chords.
| In Gsus4 | Moves | In G |
|---|---|---|
| G, the root | stays where it is | G, the root |
| C, the fourth | falls a semitone | B, the major third |
| D, the fifth | stays where it is | D, the fifth |
In which keys. Every note of Gsus4 belongs to C major (the V), C minor (the v), D minor (the iv), Eb major (the iii), E minor (the ♭III), F major (the ii), G major (the I), G minor (the i), A minor (the ♭VII) and Bb major (the vi).
Every note of Gsus4 is in G minor pentatonic, G blues, G major, G mixolydian and G dorian.
Change one note of Gsus4 and you have G (the fourth becomes a major third), Gm (the fourth becomes a minor third), Gsus2 (the fourth becomes a ninth), Gsus2sus4 (add the ninth), G5 (drop the fourth) or G7sus4 (add the flat seventh).
Gsus4 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 Gsus4’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.