A# 9 Suspended 4th Guitar Chord

RRootM2Major 2ndP4Perfect 4thP5Perfect 5thm7Minor 7th
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Voicing Positions (6)

RM2P5RP4m76 3 3 3 4 4
RM2P5M2P4m76 3 3 5 4 4
5RP4m7P4P5M26 6 6 8 6 8
5RP5m7P4P5M26 8 6 8 6 8
×RP4m7M2P5x 1 1 1 1 1
×RP5M2P4m7x 1 3 5 4 4

Interval Colors

In shape.music, every interval has a unique color. The colors follow the function of each note relative to the root — so they change when you switch chords.

R
Root
m2
Minor 2nd
M2
Major 2nd
m3
Minor 3rd
M3
Major 3rd
P4
Perfect 4th
♭5
Tritone
P5
Perfect 5th
m6
Minor 6th
M6
Major 6th
m7
Minor 7th
M7
Major 7th

A# 9 Suspended 4th Chord

The A# 9 Suspended 4th chord is built from the intervals: Root, Major 2nd, Perfect 4th, Perfect 5th, and Minor 7th. It contains the notes A#, C, D#, F, and G#. As an extended chord, it adds color and depth beyond the basic triad.

What A# 9 Suspended 4th Is

The A# 9 Suspended 4th is a suspended second chord — the third is replaced by the major second above the root. This produces a quietly unresolved character: the chord refuses to commit to major or minor, and naturally pulls toward a resolution where the second drops to the third. Sus2 voicings sound bright and modern, common in folk and singer-songwriter material.

How A# 9 Suspended 4th Sounds

The suspended quality gives A# 9 Suspended 4th a sense of motion. It can either resolve directly into the parent major or minor chord, or be left hanging as a colour chord. In acoustic guitar arrangements, sus chords are often used to add melodic interest to a static harmony — strumming through A# major, A# sus4, A# major creates the classic folk-rock sound of an embellished tonic.

How To Use A# 9 Suspended 4th In A Progression

Suspended chords almost always either resolve to or come from the parent major chord. They are most common as embellishments on the I, IV, and V chords of a key, adding melodic interest without changing the underlying harmony.

Playing A# 9 Suspended 4th On Guitar

On guitar, the voicings shown above represent practical fingerings across different positions of the neck. Open and low-fret voicings tend to sound fullest because of the ringing open strings; higher voicings give a tighter, more focused sound. Try each voicing in context — the right one is whichever sits best under your melody.

Related Chords

Same root (A#)

A#A#mA#7A#maj7A#m7A#dimA#augA#sus2

Same quality (9 Suspended 4th)

A 9 Suspended 4thB 9 Suspended 4thC 9 Suspended 4thD# 9 Suspended 4thF 9 Suspended 4th

See the music. Every interval has a color.

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