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C#m7 Chord

C#m7 combines a minor triad with B, its flat seventh. In a ii-V-I it often starts the journey rather than ending it.

  • Notes: C sharp-E-G sharp-B
  • Symbol: C#m7
  • ii7 in B major
  • Minor third and flat seventh
Switch chordC#m7

How to play a C#m7 chord

Notes: C# - E - G# - B · symbol C#m7

  • Root position

    C# - E - G# - B
    C4C5
    Right hand 1-2-3-5 · Left 5-3-2-1

  • 1st inversion

    E - G# - B - C#
    C4C5
    Right hand 1-2-3-5 · Left 5-4-2-1

  • 2nd inversion

    G# - B - C# - E
    C4C5
    Right hand 1-2-4-5 · Left 5-3-2-1

  • 3rd inversion

    B - C# - E - G#
    C4C5
    Right hand 1-2-4-5 · Left 5-3-2-1

Where does C#m7 belong?

In B major, C#m7 starts as ii7 before the dominant moves toward the tonic.
Play the role cards to hear how its surrounding chords change the job it does; Diatonic Chords explains the basic numbered roles.

  • In B majorThe ii in ii-V-I
    ii7

    The first step of the most common move in jazz, heading to B.

    C#m7ii7F#7V7Bmaj7Imaj7
  • In E majorThe relative minor
    vi7

    Same notes as E major with a darker center.

    Emaj7Imaj7C#m7vi7F#m7ii7B7V7
  • In C# DorianDorian vamp
    i7

    Two chords back and forth: the major IV gives C# Dorian its brighter minor sound.

    C#m7i7F#7IV7
  • In A majorA soft stand-in
    iii7

    It shares three notes with Amaj7, so it moves without leaving home.

    Amaj7Imaj7C#m7iii7Dmaj7IVmaj7

Progressions to try

  • C#m7F#7Bmaj7

    C#m7 begins a ii-V-I in B major; listen for the move through the dominant to the maj7 arrival.

  • Emaj7C#m7F#m7B7

    Here C#m7 serves as vi7, keeping the phrase moving toward the following minor-seven chord.

  • C#m7F#7

    The two-chord Dorian vamp gives C#m7 room to sound like a center without a final cadence.

  • Amaj7C#m7Dmaj7

    In A major, C#m7 acts as iii7 between the home and IVmaj7 chords.

Which shape should you use?

On guitar, start with the open x42100 grip. Let the open strings ring and keep any strings marked x silent. The x46454 shape gives you another position when the neighboring chords sit elsewhere on the neck.

On ukulele, the open shape 1102 is the easiest place to start. The 4444 grip moves the chord to another register.

On piano, play C sharp-E-G sharp-B. Move C sharp up an octave to reach the first inversion, E-G sharp-B-C sharp; the notes remain the same while the lowest voice changes.

What are the inversions?

C sharp is the root, E the minor third, G sharp the fifth and B the flat seventh.

  • Root position: C sharp-E-G sharp-B, with C sharp lowest.
  • First inversion: E-G sharp-B-C sharp, written C#m7/E if E is lowest in the whole arrangement.
  • Second inversion: G sharp-B-C sharp-E, written C#m7/G# if G sharp is lowest in the whole arrangement.
  • Third inversion: B-C sharp-E-G sharp, written C#m7/B if B is lowest in the whole arrangement.

A slash chord names the note in the bass, not merely the lowest note under one hand. Chord Inversions shows how to read that distinction.

How does C#m7 differ from C#7?

Keep C sharp, G sharp and B, then raise the third from E to E sharp. That turns C#m7 into C#7; listen to the one moving voice. Try that one-note change on piano, then use the comparer to hear it in the full chord. See C#7 for the other chord's full spelling and roles.

  • C#m7

    C# - E - G# - B
    C4C5

    C# minor 7

  • C#7

    C# - E# - G# - B
    C4C5

    C# dominant 7

Try another chord