Map it slowly
Find G♯ on string 6 at fret 4. Play string 6, fret 4; string 6, fret 7; string 5, fret 5; string 5, fret 8; string 4, fret 6. Use a relaxed position and release pressure between repetitions. String 1 is high E.
Arpeggio · G♯°7 · Guitar
The G♯°7 arpeggio is G♯ – B – D – F — chord tones 1 ♭3 ♭5 𝄫7. G♯°7 is passing chords between diatonic chords, and as a 7♭9 without its root; its sound is symmetrical, restless. Below, every G♯, B, D, F on the fretboard is marked, with the root in gold. Press play to hear a one-octave arpeggio, or tap any note.
Visualizer
Guitar · standard tuning
Piano
Play loops the arpeggio up and down one octave (switch Loop off for a single pass) in the position starting at fret 4. Tap any marked note to hear it. “Show” switches or combines the fretboard and keyboard; “Sound” picks the instrument you hear. Audio is synthesized in the browser.
Your next 10 minutes
Find G♯ on string 6 at fret 4. Play string 6, fret 4; string 6, fret 7; string 5, fret 5; string 5, fret 8; string 4, fret 6. Use a relaxed position and release pressure between repetitions. String 1 is high E.
Play G♯ – B – D – F in quarter notes at 60 bpm. Repeat starting from B, wrapping back to G♯. Do not speed up until every attack is even.
Alternate B and F above a sustained G♯. These are degree ♭3 and 𝄫7. End a four-bar phrase on either one instead of always returning to the root.
Listen for this: G♯°7 has the colour “symmetrical, restless”. Name the degrees as you play, so you can recognize the sound in another key rather than remembering only a shape.
Understand the sound
Successive chord tones are separated by minor thirds. The seventh is a diminished seventh, not a major sixth in the chord’s theoretical spelling, even when they share a piano key.
Here the third is B, and degree 𝄫7 is F. Play G♯ in the bass and compare these voices individually before combining them.
Try B – D – F – G♯ as quarter notes, then repeat the first note and omit the last. The second phrase uses the same harmony with a different shape.
Sound the strings separately before playing them together. If a note is muted, adjust the finger angle instead of squeezing harder.
Start with G♯ on string 6, fret 4. The next note B is on string 6, fret 7. Name both notes aloud before playing, then find the same two pitches in another octave.
Before moving on, close the diagram and name the notes: G♯ · B · D · F. Then play a two-bar phrase from memory and leave two bars of silence.
On piano
Reference
| Chord tone | Note | Interval from G♯ |
|---|---|---|
| 1 | G♯ | unison (0 semitones) |
| ♭3 | B | minor 3rd (3 semitones) |
| ♭5 | D | diminished 5th (6 semitones) |
| 𝄫7 | F | diminished 7th (9 semitones) |
Goes with: G♯ Diminished (whole–half) (G♯ A♯ B C♯ D E F G). Voicings: G♯°7 voicings on guitar.
Take it to the bandstand.Practice Radio streams endless changes to play the G♯°7 arpeggio over through all twelve keys, with the chord and scale shown live — plus ear-training and call & response modes.
▶ Open Practice RadioCommon questions
G♯ – B – D – F. As chord tones: 1 ♭3 ♭5 𝄫7. Played one after another instead of together, that is the arpeggio.
G♯°7 is passing chords between diatonic chords, and as a 7♭9 without its root. Its character is symmetrical, restless.
G♯ Dim. W–H (G♯ A♯ B C♯ D E F G) — the arpeggio is the skeleton of that scale, so practise them together.
Start on the root G♯ on the low E string at fret 4 and play E-string fret 4, E-string fret 7, A-string fret 5, A-string fret 8, D-string fret 6. Then play it descending, then in eighth notes with a metronome, then use it in a short phrase over a suitable chord.
Keep going
Same arpeggio on piano · Diminished 7th hub · chord-scale theory.
Other arpeggios from G♯