Fmaj7#5 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 Fmaj7#5 — open string voicings
Fmaj7#5 is F, A, C# and E — Fmaj7 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.
Fmaj7#5 notes and formula
| F | A | C# | E |
|---|---|---|---|
| 1 | 3 | ♯5 | 7 |
Tonic — the lydian augmented sound.
Also written FM7#5, FΔ7#5, F+M7 or Fmaj7(#5). The same chord either way; which spelling you meet depends on who wrote the chart.
How to play Fmaj7#5
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.
Fmaj7#5 has 6 of them, on strings 6-5-4-3-2-1, strings 6-5-4-3-2 and strings 5-4-3-2-1, from the 2nd fret up to the 6th — every inversion the chord has: A in the bass and E in the bass. The one to learn first is the E shape at the 2nd fret, which is the easiest grip here.
Start with xx3655 — no barre and low, at the 3rd fret. 1 of the 9 shapes here sits in open position. 3 of the 9 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 102220 | open position | F, root position | E | barred |
| 1x2221 | 1st fret | F, root position | F | barred |
| xx3655 | 3rd fret | F, root position | A | all fretted |
| x87655 | 5th fret | F, root position | A | all fretted |
| x879x9 | 7th fret | F, root position | C# | all fretted |
| x-8-11-9-10-x | 8th fret | F, root position | A | all fretted |
| x-x-11-10-10-12 | 10th fret | C#, 2nd inversion | E | all fretted |
| x-x-15-14-14-12 | 12th fret | F, root position | E | all fretted |
| 13-x-14-14-14-x | 13th fret | F, root position | C# | barred |
The same notes rebuilt from scratch give 4 shell, 13 drop 2 and 9 drop 3 voicings, each on its own page.
Tensions. A shell of Fmaj7#5, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (G), the #11 (B) and the 13 (D).
How to use Fmaj7#5
How you get to it. The turn that lands on Fmaj7#5 is Gm7 to C7 — the ii and the V of F — and C7 shares its third and seventh with Gm7, so the hand barely moves between them.
Chords near Fmaj7#5
Change one note of Fmaj7#5 and you have Fmaj7 (the sharp fifth becomes a fifth), Fmaj7b5 (the sharp fifth becomes a flat fifth), Faug (drop the major seventh), Faug7 (the major seventh becomes a flat seventh) or F/E (the sharp fifth becomes a fifth).
Fmaj7#5 is a major chord — root, major third, fifth. Major chords on every root.
On Fmaj7#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.