Emaj7#5 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
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- Fingers, notes or intervals
- Play the chord
About Emaj7#5 — shell voicings
Emaj7#5 is E, G#, B# and D# — Emaj7 with the fifth raised a semitone.
It sounds weightless, with no pull in it. Unlike an aug7 there is no flat seventh dragging it anywhere, so it colours a tonic rather than replacing it with a dominant.
Emaj7#5 notes and formula
| E | G# | B# | D# |
|---|---|---|---|
| 1 | 3 | ♯5 | 7 |
Tonic — the lydian augmented sound.
Also written EM7#5, EΔ7#5, E+M7 or Emaj7(#5). The same chord either way; which spelling you meet depends on who wrote the chart.
How to play Emaj7#5
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.
Emaj7#5 has 4 of them, on the bottom four strings, strings 6-4-3-2 and strings 5-3-2-1, from open position up to the 12th — all in one inversion, so the bass note never moves. The one to learn first is the E shape at the 5th fret, which is the easiest grip here.
Start with xx2544 — no barre and down at the nut. 1 of the 9 shapes here sits in open position. 1 of the 9 needs a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 032144 | open position | E, root position | G# | 1 open string |
| xx2544 | 2nd fret | E, root position | G# | all fretted |
| x76544 | 4th fret | E, root position | G# | all fretted |
| x768x8 | 6th fret | E, root position | B# | all fretted |
| x-7-10-8-9-x | 7th fret | E, root position | G# | all fretted |
| 0-11-10-9-9-11 | 9th fret | E, root position | D# | 1 open string |
| x-x-10-9-9-11 | 9th fret | B#, 2nd inversion | D# | all fretted |
| x-x-14-13-13-11 | 11th fret | E, root position | D# | all fretted |
| 12-x-13-13-13-12 | 12th fret | E, root position | E | barred |
The same notes rebuilt from scratch give 14 drop 2 and 9 drop 3 voicings, each on its own page.
Tensions. A shell of Emaj7#5, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (F#), the #11 (A#) and the 13 (C#).
How to use Emaj7#5
How you get to it. The turn that lands on Emaj7#5 is F#m7 to B7 — the ii and the V of E — and B7 shares its third and seventh with F#m7, so the hand barely moves between them.
Chords near Emaj7#5
Change one note of Emaj7#5 and you have Emaj7 (the sharp fifth becomes a fifth), Emaj7b5 (the sharp fifth becomes a flat fifth), Eaug (drop the major seventh), Eaug7 (the major seventh becomes a flat seventh) or E/D# (the sharp fifth becomes a fifth).
Emaj7#5 is a major chord — root, major third, fifth. Major chords on every root.
On Emaj7#5’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.