Three notes across one string set.
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.
Three notes on one string set. No seventh, so nothing is claimed about the chord beyond its quality.
Thin on their own, excellent over a bass line or against someone else’s harmony.
C#dim has 48 of them, on the low-middle three, the high-middle three, the bottom three strings, the top three strings, the middle four strings, the bottom four strings, the top four strings, strings 5-3-2-1 and strings 6-4-3-2, from the 2nd fret up to the 12th — every inversion the chord has: C# in the bass, E in the bass and G in the bass. The one to learn first is the C# shape at the 2nd fret, which is the easiest grip here.
6 of them sit on the middle four strings, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
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 6 open string 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.