The standard grips this chord is usually shown with.
F#m7b5 is F#, A, C and E — F#m7 with the fifth lowered a semitone.
It sounds hollow, and unmistakably going somewhere. It walks straight into an altered dominant, which is where you will nearly always meet it.
Pre-dominant — the ii of a minor key.

| F# | A | C | E |
|---|---|---|---|
| 1 | ♭3 | ♭5 | ♭7 |
Also written F#ø, F#ø7, F#m7-5, F#m7(b5) or F# half diminished. The same chord either way; which spelling you meet depends on who wrote the chart.
F#m7b5 in 2nd inversion puts C in the bass instead of F#, the 5th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
One of F#m7b5’s 8 common shapes does this:x-x-10-11-10-12
Play F#m7b5 as a shell — root, third and seventh — and the spare string takes the 11 (B) or the b13 (D).
All 8 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
F#m7b5 is the ii of E minor, which is where it is nearly always found: half-diminished, then an altered dominant, then the minor tonic.
In which keys. Every note of F#m7b5 belongs to E minor (the ii°, the supertonic) and G major (the vii°, the leading tone).
Every note of F#m7b5 is in F# blues, F# locrian, F# altered and F# half-whole diminished.
Change one note of F#m7b5 and you have F#dim (drop the flat seventh), F#dim7 (the flat seventh becomes the diminished seventh), F#m7 (the flat fifth becomes the fifth), F#mMaj7b5 (the flat seventh becomes the major seventh) or F#7b5 (the minor third becomes the major third).
F#m7b5 is a diminished chord — root, minor third, flat fifth. Diminished and half-diminished chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.