Construction
| Note | Interval | Degree |
|---|---|---|
| D♯ | Root | 1 |
| F♯♯ | Major 3rd | 3 |
| A♯ | Perfect 5th | 5 |
| C♯♯ | Major 7th | 7 |
Fingering
| Note | Key color | Right hand | Left hand |
|---|---|---|---|
| D♯ | black | index finger (2) | little finger (5) |
| F♯♯ | white | middle finger (3) | ring finger (4) |
| A♯ | black | ring finger (4) | middle finger (3) |
| C♯♯ | white | little finger (5) | index finger (2) |
Right hand: index finger (2) on D♯, middle finger (3) on F♯♯, ring finger (4) on A♯, little finger (5) on C♯♯.
Left hand: little finger (5) on D♯, ring finger (4) on F♯♯, middle finger (3) on A♯, index finger (2) on C♯♯.
D♯ Major 7th Inversions
- Root positionD♯ – F♯♯ – A♯ – C♯♯
- 1st inversion (D♯maj7/F♯♯)F♯♯ – A♯ – C♯♯ – D♯
- 2nd inversion (D♯maj7/A♯)A♯ – C♯♯ – D♯ – F♯♯
- 3rd inversion (D♯maj7/C♯♯)C♯♯ – D♯ – F♯♯ – A♯
Key Signature
A chord has no key signature of its own, but the D♯ Major 7th is the tonic (I) chord of D♯ Major, whose key signature has 3 flats (B♭, E♭, A♭).
Order of flats
Flats are added in a fixed order — the reverse of the sharp order. Each new flat key adds the next flat on the list.
Mnemonic: Battle Ends And Down Goes Charles’ Father
Chords in the Key of D♯ Major
These are the triads built on each degree of D♯ Major:
Scales That Include the D♯ Major 7th
- Eb Major (Imaj7)
- Bb Major (IVmaj7)
- G Minor (♭VImaj7)
- C Minor (♭IIImaj7)
- F Dorian (VII)
- G Phrygian (VI)
- Ab Lydian (V)
- Bb Mixolydian (IV)
D♯ Major 7th : Frequently Asked Questions
What is the D♯ Major 7th chord on piano?
What is the D# piano chord?
What notes are in the D# Major 7th chord?
How is the D# Major 7th chord used in music?
What is the fingering for D# Major 7th?
What are the inversions of D# Major 7th?
D♯ Major 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 | D♯3 F×3 A♯3 C×4 | 11 | 151 mm | none | identical | |
| Close, first inversion | F×3 A♯3 C×4 D♯4 | 8 | 110 mm | none | identical | |
| Close, second inversion | A♯3 C×4 D♯4 F×4 | 9 | 124 mm | none | identical | |
| Close, third inversion | C×4 D♯4 F×4 A♯4 | 8 | 110 mm | none | identical | |
| Drop 2 | A♯2 D♯3 F×3 C×4 | 16 | 220 mm | none | identical | |
| Drop 3 | F×2 D♯3 A♯3 C×4 | 19 | 261 mm | none | identical | |
| Drop 2 and 4 | D♯2 A♯2 F×3 C×4 | 23 | 316 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 | D♯2 C×3 F×3 | 16 | 220 mm | omits A♯ | subset | |
| Guide tones, 3 and 7 | F×3 C×4 | 7 | 96 mm | omits D♯ and A♯ | subset | |
| Rootless close | F×3 A♯3 C×4 | 7 | 96 mm | omits D♯ | 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 | D♯ | D♯3, F×3, A♯3, C×4 | 7 | 11 | 151 mm |
| First inversion: D♯maj7/F× | F× | F×3, A♯3, C×4, D♯4 | 6/5 | 8 | 110 mm |
| Second inversion: D♯maj7/A♯ | A♯ | A♯3, C×4, D♯4, F×4 | 4/3 | 9 | 124 mm |
| Third inversion: D♯maj7/C× | C× | C×4, D♯4, F×4, A♯4 | 4/2 | 8 | 110 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 |
|---|---|---|---|---|
| ♭III, ♭VI, ii, v | C minor | ♭IIImaj7 | E♭maj7 to A♭maj7 to Dm7♭5 to Gm7 | D♯maj7 opens the phrase |
| i, ♭III | C minor | ♭IIImaj7 | Cm7 to E♭maj7 | 3 tones held from Cm7 |
| ii, V, I | E♭ major | Imaj7 | Fm7 to B♭7 to E♭maj7 | 2 tones held from B♭7 |
| IV, I | E♭ major | Imaj7 | A♭maj7 to E♭maj7 | 2 tones held from A♭maj7 |
| I, vi, ii, V | E♭ major | Imaj7 | E♭maj7 to Cm7 to Fm7 to B♭7 | D♯maj7 opens the phrase |
| ♭VI, iv, i, v | G minor | ♭VImaj7 | E♭maj7 to Cm7 to Gm7 to Dm7 | D♯maj7 opens the phrase |
| i, ♭VI | G minor | ♭VImaj7 | Gm7 to E♭maj7 | 3 tones held from Gm7 |
| IV, V, I | B♭ major | IVmaj7 | E♭maj7 to F7 to B♭maj7 | D♯maj7 opens the phrase |
| I, IV | B♭ major | IVmaj7 | B♭maj7 to E♭maj7 | 2 tones held from B♭maj7 |
Root motion, common tones and voice displacement are computed from pitch class sets. Roman numerals follow common practice functional harmony.
Which keys it belongs to
| Key | Roman numeral | Function |
|---|---|---|
| C minor | ♭IIImaj7 | Relative-major color |
| E♭ major | Imaj7 | Tonic, home |
| G minor | ♭VImaj7 | Pre-dominant color |
| B♭ major | IVmaj7 | Subdominant, away from home |
Classification system: common-practice functional harmony.
Change one note
Chords a single note away, and what moving that note does.
| Chord | Change | Formula | Common tones |
|---|---|---|---|
| D♯maj9 | adds E♯ | 1 3 5 7 9 | 4 |
| D♯ | drops C× | 1 3 5 | 3 |
| D♯7 | C× becomes C♯ | 1 3 5 ♭7 | 3 |
| D♯mMaj7 | F× becomes F♯ | 1 ♭3 5 7 | 3 |
| D♯6 | C× becomes B♯ | 1 3 5 6 | 3 |
| D♯add9 | C× becomes E♯ | 1 3 5 9 | 3 |
| D♯9 | C× becomes C♯, E♯ | 1 3 5 ♭7 9 | 3 |
| D♯m | F×, C× becomes F♯ | 1 ♭3 5 | 2 |
| D♯aug | A♯, C× becomes A× | 1 3 ♯5 | 2 |
| D♯sus2 | F×, C× becomes E♯ | 1 2 5 | 2 |
| D♯sus4 | F×, C× becomes G♯ | 1 4 5 | 2 |
| D♯m7 | F×, C× becomes F♯, C♯ | 1 ♭3 5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| D♯3 | 51 | 155.56 Hz |
| F×3 | 55 | 196.00 Hz |
| A♯3 | 58 | 233.08 Hz |
| C×4 | 62 | 293.66 Hz |
Reference pitch A440, 12-TET, close root position.
Set theory: prime form, Forte number, interval vector
- Absolute pitch class set
- {3, 7, 10, 2}
- Normal order
- [2, 3, 7, 10]
- Prime form
- (0158)
- Forte number
- 4-20
- Interval vector
- <101220>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| D♯ to F× | Major third | 4 | 4 |
| D♯ to A♯ | Perfect fifth | 7 | 5 |
| D♯ to C× | Major seventh | 11 | 1 |
| F× to A♯ | Minor third | 3 | 3 |
| F× to C× | Perfect fifth | 7 | 5 |
| A♯ to C× | Major third | 4 | 4 |
Where these facts come from
Every value on this page is derived from the note formula for a major 7th applied to the root D♯, 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.