Map it slowly
Locate B, D, F, A on white keys. Try each hand separately before playing together; choose a fingering that keeps the wrist relaxed, without stretching between notes.
Arpeggio · Bm7♭5 · Piano
Bm7♭5 arpeggio on piano
The Bm7♭5 arpeggio is B – D – F – A — chord tones 1 ♭3 ♭5 ♭7. Bm7♭5 is the iiø chord of a minor ii–V–i; its sound is dark, unstable, leading. Below, every B, D, F, A on the two-octave keyboard is marked, with the root in gold. Press play to hear a one-octave arpeggio, or tap any note.
Visualizer
Bm7♭5 on the keyboard.
Piano
Guitar · standard tuning
RootChord toneBeing played
Tempo100 bpm
Show
Sound
Play loops the arpeggio up and down one octave (switch Loop off for a single pass). 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
Make B Half-diminished (m7♭5) part of your playing
Make a short phrase
Play B – D – F – A in quarter notes at 60 bpm. Repeat starting from D, wrapping back to B. Do not speed up until every attack is even.
Hear it in context
Alternate D and A above a sustained B. These are degree ♭3 and ♭7. End a four-bar phrase on either one instead of always returning to the root.
Listen for this: Bm7♭5 has the colour “dark, unstable, leading”. Name the degrees as you play, so you can recognize the sound in another key rather than remembering only a shape.
Understand the sound
Bm7♭5: from a pattern to a musical choice
What gives Bm7♭5 its identity?
Compare the flat fifth with a perfect fifth while keeping the other notes fixed. That one change turns a minor seventh into a half-diminished chord.
Here the third is D, and degree ♭7 is A. Play B in the bass and compare these voices individually before combining them.
Turn the arpeggio into a melody
Try D – F – A – B as quarter notes, then repeat the first note and omit the last. The second phrase uses the same harmony with a different shape.
Separate the bass from the upper notes. If the low register sounds muddy, move the upper voices up an octave before adding more notes.
Your piano checkpoint
The black-key pitches in this collection are none. Use the groups of two and three black keys to orient yourself. Play B and D with each hand separately before combining the hands.
Before moving on, close the diagram and name the notes: B · D · F · A. Then play a two-bar phrase from memory and leave two bars of silence.
On guitar
Bm7♭5 on the fretboard.
Reference
Bm7♭5 — chord tones & intervals.
| Chord tone | Note | Interval from B |
|---|---|---|
| 1 | B | unison (0 semitones) |
| ♭3 | D | minor 3rd (3 semitones) |
| ♭5 | F | diminished 5th (6 semitones) |
| ♭7 | A | minor 7th (10 semitones) |
Goes with: B Locrian (B C D E F G A). Voicings: Bm7♭5 voicings on piano.
Take it to the bandstand.Practice Radio streams endless changes to play the Bm7♭5 arpeggio over through all twelve keys, with the chord and scale shown live — plus ear-training and call & response modes.
▶ Open Practice RadioCommon questions
Bm7♭5 arpeggio FAQ.
What notes are in a Bm7♭5 arpeggio?
B – D – F – A. As chord tones: 1 ♭3 ♭5 ♭7. Played one after another instead of together, that is the arpeggio.
What is a Bm7♭5 chord used for?
Bm7♭5 is the iiø chord of a minor ii–V–i. Its character is dark, unstable, leading.
Which scale goes with Bm7♭5?
B Locrian (B C D E F G A) — the arpeggio is the skeleton of that scale, so practise them together.
How do I practise the Bm7♭5 arpeggio on piano?
Play B – D – F – A ascending from B, then descend; then start from each chord tone in turn (inversions) so your hand knows the shape from any note.
Keep going
Half-diminished (m7♭5) arpeggio in every other key.
Same arpeggio on guitar · Half-diminished (m7♭5) hub · chord-scale theory.
Other arpeggios from B