Voicings · C♯m7 · Piano
C♯m7 is spelled C♯ – E – G♯ – B (1 ♭3 5 ♭7) — the ii chord in a major ii–V–I, and minor-key tonics. Here are 6 ways to voice it on piano: close position, drop 2, drop 3, shell, rootless a, rootless b. Every diagram is playable — press play to hear the chord, or “roll it” to hear the voices one by one, low to high.
The voicings
Root, third, fifth and seventh stacked within one octave — the reference voicing (piano; too tight to finger on guitar).
Take the close voicing and drop its second-highest voice an octave. The most-used four-note voicing on guitar and in piano left hands.
Drop the third-highest voice of the close voicing an octave: a wide, open sound.
Root, seventh and third only. The fifth is dropped — it adds nothing to the chord's identity — leaving a light, clear voicing.
Bill Evans-style left-hand voicing: the third on the bottom, the ninth on top, the bass player supplies the root.
The companion rootless voicing with the seventh on the bottom. Alternate A and B so the top voice moves by step through a ii–V–I.
Reference
| Chord tone | Note | Interval |
|---|---|---|
| 1 | C♯ | unison |
| ♭3 | E | minor 3rd |
| 5 | G♯ | perfect 5th |
| ♭7 | B | minor 7th |
Arpeggio: C♯m7 arpeggio on piano. Scale: C♯ Dorian.
Common questions
C♯, E, G♯, B — chord tones 1 ♭3 5 ♭7. Rootless voicings add the 9th, D♯, and leave the root to the bass.
The shell voicing: C♯ – B – E in the left hand. Three notes that carry the whole identity of the chord.
Start from the close voicing C♯ E G♯ B and drop the second note from the top an octave: G♯ – C♯ – E – B. It spreads the chord so it fits the hand — and on guitar it fits four adjacent strings.
C♯m7 is the ii chord in a major ii–V–I, and minor-key tonics. Its character is soft, warm, unresolved.
Keep going
Same chord on guitar · Minor 7th hub.
Other chords from C♯