F#m is F#, A and C# — F# with the third lowered a semitone.
It sounds darker than a major triad, and just as settled. The i of a minor key, and the vi, ii or iii of a major one.

| F# | A | C# |
|---|---|---|
| 1 | ♭3 | 5 |
Tonic — minor chords rest as readily as major ones.
Also written F#min, F#- or F# minor. The same chord either way; which spelling you meet depends on who wrote the chart.
F#m in 1st inversion puts A in the bass instead of F#, the 3rd 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.
2 of F#m’s 8 common shapes do this: xx7675, x-12-11-11-10-x.
Start with xx4675 — no barre and low, at the 4th fret. None of the shapes for F#m uses an open string, so every one of them is movable; the lowest sits at the 2nd fret. 2 of the 8 need a barre. Together they cover the neck from the 2nd fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 244222 | 2nd fret | F#, root position | F# | barred |
| xx4222 | 2nd fret | F#, root position | F# | barred |
| xx4675 | 4th fret | F#, root position | A | all fretted |
| xx7675 | 5th fret | A, 1st inversion | A | all fretted |
| x9767x | 6th fret | F#, root position | F# | all fretted |
| x-9-11-11-10-9 | 9th fret | F#, root position | C# | all fretted |
| x-12-11-11-10-x | 10th fret | A, 1st inversion | A | all fretted |
| 14-12-11-11-x-14 | 11th fret | F#, root position | F# | all fretted |
The same notes rebuilt from scratch give 46 triad voicings, each on its own page.
How you get to it. The turn that lands on F#m is G#m7♭5 to C#7♭9: the ii and the V of F# minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of F#m belongs to C# minor (the iv), D major (the iii), E major (the ii), F# minor (the i), A major (the vi) and B minor (the v).
Every note of F#m is in F# minor pentatonic, F# blues, F# dorian, F# natural minor and F# phrygian.
Change one note of F#m and you have F# (the minor third becomes a major third), F#dim (the fifth becomes a flat fifth), F#sus2 (the minor third becomes a ninth), F#sus4 (the minor third becomes a fourth), F#m6 (add the sixth) or F#m7 (add the flat seventh).
F#m is a minor chord — root, minor third, fifth. Minor chords on every root.
On F#m’s sound and use this page follows Edward Aldwell & Carl Schachter, Harmony and Voice Leading (Schirmer / Cengage, 4th ed., 2011). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.