F#maj7#5 guitar chord
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About F#maj7#5 — 2nd inversion
F#maj7#5 is F#, A#, D and E# — F#maj7 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.
F#maj7#5 notes and formula
| F# | A# | D | E# |
|---|---|---|---|
| 1 | 3 | ♯5 | 7 |
Tonic — the lydian augmented sound.
Also written F#M7#5, F#Δ7#5, F#+M7 or F#maj7(#5). The same chord either way; which spelling you meet depends on who wrote the chart.
How to play F#maj7#5
F#maj7#5 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#maj7#5’s 8 common shapes does this: x-x-12-11-11-13.
Start with xx4331 — no barre and down at the nut. None of the shapes for F#maj7#5 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 2 of the 8 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 2x3332 | 2nd fret | F#, root position | F# | barred |
| xx4331 | 1st fret | F#, root position | E# | all fretted |
| xx4766 | 4th fret | F#, root position | A# | all fretted |
| x98766 | 6th fret | F#, root position | A# | all fretted |
| x-9-8-10-x-10 | 8th fret | F#, root position | D | all fretted |
| x-9-12-10-11-x | 9th fret | F#, root position | A# | all fretted |
| x-x-12-11-11-13 | 11th fret | C##, 2nd inversion | E# | all fretted |
| 14-x-15-15-15-x | 14th fret | F#, root position | D | barred |
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 F#maj7#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 F#maj7#5
How you get to it. The turn that lands on F#maj7#5 is G#m7 to C#7 — the ii and the V of F# — and C#7 shares its third and seventh with G#m7, so the hand barely moves between them.
Chords near F#maj7#5
Change one note of F#maj7#5 and you have F#maj7 (the sharp fifth becomes a fifth), F#maj7b5 (the sharp fifth becomes a flat fifth), F#aug (drop the major seventh) or F#aug7 (the major seventh becomes a flat seventh).
F#maj7#5 is a major chord — root, major third, fifth. Major chords on every root.
On F#maj7#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.