C#mMaj7b5 guitar chord
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.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About C#mMaj7b5 — open string voicings
C#mMaj7b5 is C#, E, G and B# — C#m7b5 with the seventh raised a semitone.
It sounds brittle and impossible to mistake. Scarce enough that most players meet it as a passing sonority rather than as a chord they chose.
C#mMaj7b5 notes and formula
| C# | E | G | B# |
|---|---|---|---|
| 1 | ♭3 | ♭5 | 7 |
Rare tonic — a half-diminished chord with its seventh raised instead.
Also written C#mM7b5 or C#m(maj7)b5. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play C#mMaj7b5
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#mMaj7b5 has 3 of them, on strings 6-5-4-3-2-1 and the bottom four strings, from the 2nd fret up to the 5th — all in one inversion, so the bass note never moves. The one to learn first is the E shape at the 3rd fret, which is the easiest grip here.
Start with x42010 — no barre and 2 open strings. 1 of the 6 shapes here sits in open position. 2 of the 6 need a barre. Together they cover the neck from the 1st fret to the 13th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x42010 | open position | C#, root position | E | 2 open strings |
| x4x553 | 3rd fret | C#, root position | G | all fretted |
| x4555x | 4th fret | C#, root position | E | barred |
| 9-10-x-9-8-8 | 8th fret | C#, root position | B# | all fretted |
| 9-10-10-9-x-9 | 9th fret | C#, root position | C# | barred |
| x-x-11-12-13-12 | 11th fret | C#, root position | E | all fretted |
The same notes rebuilt from scratch give 3 shell, 13 drop 2 and 9 drop 3 voicings, each on its own page.
Tensions. A shell of C#mMaj7b5, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (F#) and the b13 (A).
What to play over C#mMaj7b5
Every note of C#mMaj7b5 is in C# diminished.
Chords near C#mMaj7b5
Change one note of C#mMaj7b5 and you have C#dim (drop the major seventh), C#dim7 (the major seventh becomes a sixth), C#maj7b5 (the minor third becomes a major third), C#m7b5 (the major seventh becomes a flat seventh) or C#mMaj7 (the flat fifth becomes a fifth).
C#mMaj7b5 is a diminished chord — root, minor third, flat fifth. Diminished and half-diminished chords on every root.
On C#mMaj7b5’s sound and use this page follows Robert Rawlins & Nor Eddine Bahha, Jazzology (Hal Leonard, 2005). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.