EbmMaj7b5 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
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- Fingers, notes or intervals
- Play the chord
About EbmMaj7b5 — open string voicings
EbmMaj7b5 is Eb, Gb, A and D — Ebm7b5 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.
EbmMaj7b5 notes and formula
| Eb | Gb | A | D |
|---|---|---|---|
| 1 | ♭3 | ♭5 | 7 |
Rare tonic — a half-diminished chord with its seventh raised instead.
Also written EbmM7b5 or Ebm(maj7)b5. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play EbmMaj7b5
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.
EbmMaj7b5 has 6 of them, on strings 6-5-4-3-2, the top four strings, strings 5-4-3-2-1, the middle four strings and the bottom four strings, from the 2nd fret up to the 4th — every inversion the chord has: Gb in the bass, Bbb in the bass and D in the bass. The one to learn first is the D shape at the 2nd fret, which is the easiest grip here.
Start with xx1232 — no barre and down at the nut. None of the shapes for EbmMaj7b5 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 2 of the 6 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx1232 | 1st fret | Eb, root position | Gb | all fretted |
| x6x775 | 5th fret | Eb, root position | A | all fretted |
| x6777x | 6th fret | Eb, root position | Gb | barred |
| 11-12-x-11-10-10 | 10th fret | Eb, root position | D | all fretted |
| 11-12-12-11-x-11 | 11th fret | Eb, root position | Eb | barred |
| x-x-13-14-15-14 | 13th fret | Eb, root position | Gb | 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 EbmMaj7b5, root, third and seventh, leaves a string free, and the tones that belong over it are the 11 (Ab) and the b13 (Cb).
What to play over EbmMaj7b5
Every note of EbmMaj7b5 is in Eb diminished.
Chords near EbmMaj7b5
Change one note of EbmMaj7b5 and you have Ebdim (drop the major seventh), Ebdim7 (the major seventh becomes a sixth), Ebmaj7b5 (the minor third becomes a major third), Ebm7b5 (the major seventh becomes a flat seventh) or EbmMaj7 (the flat fifth becomes a fifth).
EbmMaj7b5 is a diminished chord — root, minor third, flat fifth. Diminished and half-diminished chords on every root.
On EbmMaj7b5’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.