The B7sus4 bass chord is a 7th suspended 4th chord with the notes B, E, F#, A. On bass it is outlined with the arpeggio B, F#, B, E — root, 5th, root, 3rd. Whether you are learning it for the first time or checking a voicing, this page has the notes, the bass fingerings, the inversions and alternatives, and the progressions it appears in.
What notes are in the B7sus4 chord?
The B7sus4 chord is a 7th suspended 4th chord, and its notes are fixed: B, E, F#, A. Every voicing on every instrument uses these same notes, in some order and in some octave — change one of them and you are playing a different chord. The table below lists each note with its interval from the root B, so you can see the structure of B7sus4 at a glance. On the bass, B7sus4 is the arpeggio B, F#, B, E — root, 5th, root, 3rd — and that order is the shape to learn.
| Note | Interval |
|---|---|
| B | Root |
| E | 4 |
| F# | 5 |
| A | b7 |
The root is B, the note the chord is named after and the note your ear hears as home. Above it, the intervals in B7sus4 are 4, 5, b7. Learn those intervals rather than memorising the shape alone, because the same interval pattern transposed to another root gives you the same quality of chord anywhere. On the bass, the notes appear in the order the fingering dictates, but the set of notes never changes.
B7sus4 sounds ringing and unresolved, the sound of a dominant chord holding its breath. That character comes straight from the intervals above, not from the instrument: the same notes on piano, guitar or ukulele carry the same colour, even though the voicing changes. On the bass, play B, F#, B, E and hear how the arpeggio spells out B7sus4 without ever playing it as a block.
Comparing B7sus4 with its closest relatives helps to fix it in your ear. In short, 7sus4 against sus4: B7sus4 adds the flattened 7th A to the sus4 triad. The 7th makes it a dominant chord; the plain sus4 is neither major nor minor. Hearing the comparison matters more than reading it: play B7sus4, then play the chord it is compared with above, and let your ear find the note that changed. On the bass, the arpeggio B, F#, B, E outlines B7sus4 one note at a time.
How to play B7sus4 on bass
On the bass, B7sus4 is not played as a full chord shape the way it is on guitar or piano. Instead you outline it with an arpeggio: the notes B, F#, B, E, which are the chord tones of B7sus4 in the order root, 5th, root, 3rd. That pattern is the working shape for this chord on bass, and it tells the listener exactly which chord is sounding, even though you never play all the notes at once.
Practise the arpeggio of B7sus4 by playing B on beat one, F# on beat two, B on beat three and E on beat four, one note per beat, letting each note ring for its full value. Then play it backwards — E, B, F#, B — so your fingers learn the shape in both directions. The root B is the anchor: it is the note the rest of the band listens for, so land on it cleanly and on time, and let the 5th F# and the 3rd E colour the bar without pulling attention away from the root.
Once the straight arpeggio of B7sus4 is comfortable, try playing just the root B and the 5th F# for a whole bar, then add the 3rd E on the last beat as a passing colour. That root-and-5th skeleton is how most bass lines outline B7sus4 in a real song, and the full arpeggio is the version you use when the arrangement has space for it. Check the notes with the Bass Chord Finder and the Chord Finder, and practise the arpeggio against a slow metronome so the notes land exactly on the beat.
Common mistakes
These are the mistakes that most often make B7sus4 sound wrong on the bass, and each one has a concrete fix. Work through them one at a time rather than trying to fix everything at once.
Playing the arpeggio as a chord. Strumming all the notes of B7sus4 at once on bass sounds muddy and hides the root. Play the arpeggio one note at a time, let each note ring, and keep the root B as the note the listener hears first. On the bass, B7sus4 is the arpeggio B, F#, B, E — root, 5th, root, 3rd — and that order is the shape to learn.
Never resolving the suspension. The 4th E wants to fall to D#. Practise the 7sus4-to-7 move so the resolution is clean. On the bass, B7sus4 is the arpeggio B, F#, B, E — root, 5th, root, 3rd — and that order is the shape to learn.
Playing the 3rd as well. If D# sounds with E, the chord clashes. The 3rd must be absent while the suspension lasts. On the bass, B7sus4 is the arpeggio B, F#, B, E — root, 5th, root, 3rd — and that order is the shape to learn.
Forgetting the 7th. Without A this is just a sus4 triad. The 7th is what makes it a dominant chord. On the bass, B7sus4 is the arpeggio B, F#, B, E — root, 5th, root, 3rd — and that order is the shape to learn.
Where B7sus4 is used
B7sus4 is not a diatonic triad in any major or minor key, because it is an extended or altered chord, but its base triad belongs to the key of E major, the key of F# major, the key of B major. a dominant chord that delays its resolution: play the sus4, then let it fall to the dominant 7th. As a dominant-type chord it also points toward E major, the key a perfect fourth above B, which is the tonic it most often resolves to. That is where B7sus4 does its work: not as a home chord, but as a chord that creates movement and then resolves. On the bass, the arpeggio B, F#, B, E outlines B7sus4 one note at a time.
Because B7sus4 is an extended or altered chord, it appears in progressions as a colour or a dominant rather than as a diatonic staple. Try it in place of the plain B triad in a progression you already know, and listen to how the extra notes change the feel — that substitution is the usual way extended chords enter real music. The Chord Progression Builder lets you try B7sus4 in a progression in any key and hear how it connects to the chords around it. On the bass, play B, F#, B, E and hear how the arpeggio spells out B7sus4 without ever playing it as a block.
The same chord on other instruments is covered in B7sus4 on guitar, B7sus4 on piano, B7sus4 on ukulele, and the scales that fit over it are the B major scale and the B minor pentatonic scale. Learning B7sus4 on the bass and then checking it on another instrument is one of the best ways to fix the notes — B, E, F#, A — in your memory, because the notes stay the same while everything else changes.
Practising B7sus4
A short worked example makes B7sus4 concrete. Play the four-chord progression E – B – C#m – A in E major, the key B7sus4 most often resolves toward: E – B – C#m – A. Play each chord for one bar at a slow tempo, and listen to how B7sus4 sounds in that sequence — whether it feels like home, like a lift, or like a chord on its way somewhere else. Then play the same four chords in a different order, starting on B7sus4 itself, and notice how its character changes when it opens the progression instead of sitting inside it. On the bass, play B, F#, B, E and hear how the arpeggio spells out B7sus4 without ever playing it as a block.
For a second exercise, play B7sus4 and then the chord a fourth above B, back and forth, four times each. That move — a chord and the chord a fourth above it — is the most common resolution in Western music, and it is the move B7sus4 is built for when it acts as a dominant. Finish by playing B7sus4 on its own, slowly, and naming each note out loud as you play it: B, E, F#, A. Naming the notes while you play them is what turns a shape into knowledge you can use in any key. Test yourself with the Practice Chord Quiz and keep time with the Metronome as the tempo rises. On the bass, play B, F#, B, E and hear how the arpeggio spells out B7sus4 without ever playing it as a block.
Frequently asked questions
How do you play B7sus4 on the bass?
Outline it with the arpeggio B, F#, B, E: root, 5th, root, 3rd. Play one note per beat, with the root B on beat one, and let each note ring. That arpeggio tells the listener exactly which chord is sounding, even though you never play all the notes of B7sus4 at once.
What notes are in the B7sus4 bass arpeggio?
The arpeggio is B, F#, B, E. It starts on the root B, moves to the 5th F#, returns to the root B and finishes on the 3rd E. Those four notes are the chord tones of B7sus4, and playing them in that order is the standard way to outline the chord on bass.
Should you play the full B7sus4 chord on bass?
Usually not. On bass the chord is outlined with the arpeggio B, F#, B, E, not strummed as a block. Playing all the notes at once sounds muddy in the low register and hides the root, which is the note the rest of the band is listening for.
What notes are in B7sus4?
B7sus4 contains B, E, F#, A: root B, 4th E, perfect 5th F# and flattened 7th A. There is no 3rd — the 4th takes its place until it resolves. On the bass, the arpeggio above shows where that note sits.
How do you resolve B7sus4?
Let the 4th E fall to the major 3rd D#, turning the chord into the dominant 7th, which then resolves to the tonic. That two-step resolution is the classic 7sus4 move. On the bass, the arpeggio above shows where that note sits.