Construction
| Note | Interval | Degree |
|---|---|---|
| C♯ | Root | 1 |
| E | Minor 3rd | ♭3 |
| G | Diminished 5th | ♭5 |
| B♭ | Major 6th | 6 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| C♯ | black | index finger (2) | little finger (5) |
| E | white | middle finger (3) | ring finger (4) |
| G | white | ring finger (4) | middle finger (3) |
| B♭ | black | little finger (5) | index finger (2) |
Right hand: index finger (2) on C♯, middle finger (3) on E, ring finger (4) on G, little finger (5) on B♭.
Left hand: little finger (5) on C♯, ring finger (4) on E, middle finger (3) on G, index finger (2) on B♭.
C♯ Diminished 7th Inversions
- Root positionC♯ – E – G – B♭
- 1st inversion (C♯dim7/E)E – G – B♭ – C♯
- 2nd inversion (C♯dim7/G)G – B♭ – C♯ – E
- 3rd inversion (C♯dim7/B♭)B♭ – C♯ – E – G
Key Signature
A Diminished 7th chord is built from symmetrical or ambiguous intervals, so it doesn't belong to a single key and has no key signature of its own.
Chords in the Key of C♯ Major
These are the triads built on each degree of C♯ Major:
Same Notes, Other Names
The notes C♯ – E – G – B♭ aren’t exclusive to this chord. Depending on which note is the bass and how the chord functions, the same pitches also spell the following:
C♯ Diminished 7th : Frequently Asked Questions
What is the C♯ Diminished 7th chord on piano?
What is the C# piano chord?
What notes are in the C# Diminished 7th chord?
How is the C# Diminished 7th chord used in music?
What is the fingering for C# Diminished 7th?
What are the inversions of C# Diminished 7th?
C♯ Diminished 7th in detail
Exact
Every pitch class is present and nothing outside the chord is added.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Close, root position | C♯3 E3 G3 B♭3 | 9 | 124 mm | none | identical | |
| Close, first inversion | E3 G3 B♭3 C♯4 | 9 | 124 mm | none | identical | |
| Close, second inversion | G3 B♭3 C♯4 E4 | 9 | 124 mm | none | identical | |
| Close, third inversion | B♭3 C♯4 E4 G4 | 9 | 124 mm | none | identical | |
| Drop 2 | G2 C♯3 E3 B♭3 | 15 | 206 mm | none | identical | |
| Drop 3 | E2 C♯3 G3 B♭3 | 18 | 248 mm | none | identical | |
| Drop 2 and 4 | C♯2 G2 E3 B♭3 | 21 | 289 mm | none | identical |
Reduced
A subset of the pitch classes: the identity is incomplete rather than altered.
| Type | Notes | Semitones | Span | Omissions and additions | Set relation | Fit |
|---|---|---|---|---|---|---|
| Shell, root ♭♭7 ♭3 | C♯2 B♭2 E3 | 15 | 206 mm | omits G | subset | |
| Guide tones, ♭3 and ♭♭7 | E3 B♭3 | 6 | 83 mm | omits C♯ and G | subset | |
| Rootless close | E3 G3 B♭3 | 6 | 83 mm | omits C♯ | subset |
Spans are measured centre to centre at a 165 mm octave (standard keyboard geometry).
| Position | Bass note | Notes in order | Figured bass | Semitones | Span |
|---|---|---|---|---|---|
| Root position | C♯ | C♯3, E3, G3, B♭3 | 7 | 9 | 124 mm |
| First inversion: C♯dim7/E | E | E3, G3, B♭3, C♯4 | 6/5 | 9 | 124 mm |
| Second inversion: C♯dim7/G | G | G3, B♭3, C♯4, E4 | 4/3 | 9 | 124 mm |
| Third inversion: C♯dim7/B♭ | B♭ | B♭3, C♯4, E4, G4 | 4/2 | 9 | 124 mm |
One position per chord tone in the bass. Spans are for close position: voiced inversions appear under Voicings.
| Progression | Key | Role | Sequence | Voice leading |
|---|
Root motion, common tones and voice displacement are computed from pitch class sets. Roman numerals follow common practice functional harmony.
Change one note
Chords a single note away, and what moving that note does.
| Chord | Change | Formula | Common tones |
|---|---|---|---|
| C♯dim | drops B♭ | 1 ♭3 ♭5 | 3 |
| C♯m7♭5 | B♭ becomes B | 1 ♭3 ♭5 ♭7 | 3 |
| C♯m6 | G becomes G♯ | 1 ♭3 5 6 | 3 |
| C♯m | G, B♭ becomes G♯ | 1 ♭3 5 | 2 |
| C♯m7 | G, B♭ becomes G♯, B | 1 ♭3 5 ♭7 | 2 |
| C♯mMaj7 | G, B♭ becomes G♯, B♯ | 1 ♭3 5 7 | 2 |
| C♯6 | E, G becomes E♯, G♯ | 1 3 5 6 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| C♯3 | 49 | 138.59 Hz |
| E3 | 52 | 164.81 Hz |
| G3 | 55 | 196.00 Hz |
| B♭3 | 58 | 233.08 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {1, 4, 7, 10}
- Normal order
- [1, 4, 7, 10]
- Prime form
- (0369)
- Forte number
- 4-28
- Interval vector
- <004002>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| C♯ to E | Minor third | 3 | 3 |
| C♯ to G | Tritone | 6 | 6 |
| C♯ to B♭ | Major sixth | 9 | 3 |
| E to G | Minor third | 3 | 3 |
| E to B♭ | Tritone | 6 | 6 |
| G to B♭ | Minor third | 3 | 3 |
Where these facts come from
Every value on this page is derived from the note formula for a diminished 7th applied to the root C♯, using standard music theory. Nothing here is hand-entered per chord, so the notes, intervals, inversions and frequencies cannot drift out of agreement with each other. Pitches assume 12-TET at A440.