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.
C#dim is C#, E and G — C#m with the fifth lowered as well.
It sounds compressed and unstable in every direction. Rarely a destination; it is where a line passes through on the way somewhere.

| C# | E | G |
|---|---|---|
| 1 | ♭3 | ♭5 |
Unstable — it does not sit still.
Also written C#°, C#o or C# diminished. 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.
C#dim has 6 of them, on strings 6-5-4-3-2, strings 6-5-4-3-2-1, the bottom four strings, strings 6-4-3-2 and the top four strings, from the 2nd fret up to the 7th — all in one inversion, so the bass note never moves. The one to learn first is the E shape at the 2nd fret, which is the easiest grip here.
Start with x42x23 — down at the nut. None of the shapes for C#dim uses an open string, so every one of them is movable; the lowest sits at the 2nd fret. None of them needs a barre. Together they cover the neck from the 2nd fret to the 12th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x42x23 | 2nd fret | C#, root position | G | all fretted |
| x4565x | 4th fret | C#, root position | E | all fretted |
| 97x98x | 7th fret | C#, root position | G | all fretted |
| x-x-11-12-x-12 | 11th fret | C#, root position | E | all fretted |
The same notes rebuilt from scratch give 48 triad voicings, each on its own page.
Tensions. A shell of C#dim, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (F#) and the b13 (A).
In which keys. Every note of C#dim belongs to D major (the vii°, the leading tone) and B minor (the ii°, the supertonic).
Every note of C#dim is in C# blues, C# locrian, C# altered, C# diminished and C# half-whole diminished.
Change one note of C#dim and you have C#m (the flat fifth becomes a fifth), C#dim7 (add the sixth), C#m7b5 (add the flat seventh) or C#mMaj7b5 (add the major seventh).
C#dim is a diminished chord — root, minor third, flat fifth. Diminished and half-diminished chords on every root.
On C#dim’s sound and use this page follows Stefan Kostka, Dorothy Payne & Byron Almén, Tonal Harmony (McGraw-Hill, 8th ed., 2018). 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.