Gmaj7#5 guitar chord
A close-position chord with the second voice from the top lowered an octave. Sits on four adjacent strings.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About Gmaj7#5 — drop 2 voicings
Gmaj7#5 is G, B, D# and F# — Gmaj7 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.
Gmaj7#5 notes and formula
| G | B | D# | F# |
|---|---|---|---|
| 1 | 3 | ♯5 | 7 |
Tonic — the lydian augmented sound.
Also written GM7#5, GΔ7#5, G+M7 or Gmaj7(#5). The same chord either way; which spelling you meet depends on who wrote the chart.
How to play Gmaj7#5
Take the four notes stacked as close together as they go, then drop the second voice from the top an octave. The gap it opens is what makes the chord sound like a chord rather than a cluster.
It lands on four adjacent strings, which is why it is the workhorse voicing on guitar.
Gmaj7#5 has 14 of them, on the top four strings, the bottom four strings and the middle four strings, from open position up to the 12th — every inversion the chord has: G in the bass, B in the bass, D# in the bass and F# in the bass. The one to learn first is the D# shape at the nut, which is the easiest grip here.
5 of them sit on the top four strings, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with xx1002 — no barre and 2 open strings. 1 of the 8 shapes here sits in open position. 1 of the 8 needs a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx1002 | open position | D#, 2nd inversion | F# | 2 open strings |
| 3x4443 | 3rd fret | G, root position | G | barred |
| xx5442 | 2nd fret | G, root position | F# | all fretted |
| xx5877 | 5th fret | G, root position | B | all fretted |
| x-10-9-8-7-7 | 7th fret | G, root position | B | all fretted |
| x-10-9-11-x-11 | 9th fret | G, root position | D# | all fretted |
| x-10-13-11-12-x | 10th fret | G, root position | B | all fretted |
| x-x-13-12-12-14 | 12th fret | D#, 2nd inversion | F# | all fretted |
The same notes rebuilt from scratch give 2 shell, 9 drop 3 and 2 open string voicings, each on its own page.
Tensions. A shell of Gmaj7#5, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (A), the #11 (C#) and the 13 (E).
How to use Gmaj7#5
How you get to it. The turn that lands on Gmaj7#5 is Am7 to D7 — the ii and the V of G — and D7 shares its third and seventh with Am7, so the hand barely moves between them.
Chords near Gmaj7#5
Change one note of Gmaj7#5 and you have Gmaj7 (the sharp fifth becomes a fifth), Gmaj7b5 (the sharp fifth becomes a flat fifth), Gaug (drop the major seventh), Gaug7 (the major seventh becomes a flat seventh) or G/F# (the sharp fifth becomes a fifth).
Gmaj7#5 is a major chord — root, major third, fifth. Major chords on every root.
On Gmaj7#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.