C 6sus4 — Cavaquinho

C 6sus4 stacks C – F – G – A. Each chart below places those tones on the Cavaquinho's DGBD strings and names the fret and finger holding each one — tap a chart to hear it.

Four strings is enough for a full triad with a tone to spare, and a cavaquinho player almost never leaves it sitting still: the right hand chops the chord into a batida — a repeating one-bar pattern of down strokes, up strokes, and dead-string mutes — while the shape underneath barely moves. A voicing here is less a shape you strum than a shape you chop through.

Voicings are computed for this tuning by the shared voicing generator, not borrowed from another instrument; traditional technique may still use idiomatic shapes not charted here.

Then chop it: pick a batida cell, hold this shape under it, and let the down strokes, up strokes, and mutes do the work a strum never could. On this instrument a chord you can only hold still is a chord you have not learned yet.