C#m7 guitar chord
Root, third and seventh: the guide tones fix the quality, so the fifth is dropped. That is what leaves a string free, so pick a tension to put on top.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About C#m7 — shell voicings
C#m7 is C#, E, G# and B — C#m with the flat seventh added.
It sounds smooth and unhurried. The ii of every major key, so most progressions you already know begin on one of these.
C#m7 notes and formula
| C# | E | G# | B |
|---|---|---|---|
| 1 | ♭3 | 5 | ♭7 |
Pre-dominant — the ii of a major key, and a tonic in its own right.
Also written C#min7, C#-7 or C# minor 7. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play C#m7
Root, third and seventh. The third and seventh, the guide tones, are what make the chord major, minor or dominant, so the fifth can go: it says nothing the symbol needs.
Three notes means a spare string, which is the real point. Put a tension on it.
C#m7 has 6 of them, on the low-middle three, the bottom three strings, strings 5-3-2 and strings 6-4-3, from the 2nd fret up to the 9th — all in one inversion, so the bass note never moves. The one to learn first is the C# shape at the 2nd fret, which is the easiest grip here.
Start with x4242x — no barre and down at the nut. None of the shapes for C#m7 uses an open string, so every one of them is movable; the lowest sits at the 2nd fret. 2 of the 6 need a barre. Together they cover the neck from the 2nd fret to the 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x4242x | 2nd fret | C#, root position | C# | all fretted |
| x4245x | 2nd fret | C#, root position | E | all fretted |
| x46454 | 4th fret | C#, root position | G# | barred |
| xx6657 | 5th fret | G#, 2nd inversion | B | all fretted |
| 9-11-9-9-9-9 | 9th fret | C#, root position | C# | barred |
| x-x-11-13-12-12 | 11th fret | C#, root position | E | all fretted |
The same notes rebuilt from scratch give 13 drop 2, 9 drop 3 and 4 open string voicings, each on its own page.
Tensions. A shell of C#m7, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (D#), the 11 (F#) and the 13 (A#).
How to use C#m7
How you get to it. The turn that lands on C#m7 is D#m7♭5 to G#7♭9: the ii and the V of C# minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of C#m7 belongs to C# minor (the i), E major (the vi), F# minor (the v), Ab minor (the iv), A major (the iii) and B major (the ii).
What to play over C#m7
Every note of C#m7 is in C# minor pentatonic, C# blues, C# dorian, C# natural minor and C# phrygian.
Chords near C#m7
Change one note of C#m7 and you have C#m (drop the flat seventh), C#m6 (the flat seventh becomes a sixth), C#m7b5 (the fifth becomes a flat fifth), C#m9 (add the ninth), C#mMaj7 (the flat seventh becomes a major seventh) or C#madd9 (the flat seventh becomes a ninth).
C#m7 is a minor chord — root, minor third, fifth. Minor chords on every root.
On C#m7’s sound and use this page follows Mark Levine, The Jazz Theory Book (Sher Music, 1995). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.