Construction
| Note | Interval | Degree |
|---|---|---|
| D♯ | Root | 1 |
| F♯ | Minor 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♯ | black | 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♯ Minor Major 7th Inversions
- Root positionD♯ – F♯ – A♯ – C♯♯
- 1st inversion (D♯m(maj7)/F♯)F♯ – A♯ – C♯♯ – D♯
- 2nd inversion (D♯m(maj7)/A♯)A♯ – C♯♯ – D♯ – F♯
- 3rd inversion (D♯m(maj7)/C♯♯)C♯♯ – D♯ – F♯ – A♯
Key Signature
A chord has no key signature of its own, but the D♯ Minor Major 7th is the tonic (i) chord of D♯ Minor, which shares the signature of its relative major, F♯ Major: 6 sharps (F♯, C♯, G♯, D♯, A♯, E♯).
Order of sharps
Sharps are added to a key signature in a fixed order. Each new sharp key adds the next sharp on the list.
Mnemonic: Father Charles Goes Down And Ends Battle
Chords in the Key of D♯ Minor
These are the triads built on each degree of D♯ Minor:
Looking for D♯m7? See the D♯ minor 7th piano chord.
D♯ Minor Major 7th : Frequently Asked Questions
What is the D♯ Minor Major 7th chord on piano?
What is the D# piano chord?
What notes are in the D# Minor Major 7th chord?
How is the D# Minor Major 7th chord used in music?
What is the fingering for D# Minor Major 7th?
What are the inversions of D# Minor Major 7th?
Why does D# Minor Major 7th sound so tense?
D♯ Minor 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 | 9 | 124 mm | none | identical | |
| Close, second inversion | A♯3 C×4 D♯4 F♯4 | 8 | 110 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 | 20 | 275 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 | 15 | 206 mm | omits A♯ | subset | |
| Guide tones, ♭3 and 7 | F♯3 C×4 | 8 | 110 mm | omits D♯ and A♯ | subset | |
| Rootless close | F♯3 A♯3 C×4 | 8 | 110 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♯mMaj7/F♯ | F♯ | F♯3, A♯3, C×4, D♯4 | 6/5 | 9 | 124 mm |
| Second inversion: D♯mMaj7/A♯ | A♯ | A♯3, C×4, D♯4, F♯4 | 4/3 | 8 | 110 mm |
| Third inversion: D♯mMaj7/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 |
|---|
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 |
|---|---|---|---|
| D♯m | drops C× | 1 ♭3 5 | 3 |
| D♯maj7 | F♯ becomes F× | 1 3 5 7 | 3 |
| D♯m7 | C× becomes C♯ | 1 ♭3 5 ♭7 | 3 |
| D♯m6 | C× becomes B♯ | 1 ♭3 5 6 | 3 |
| D♯maj9 | F♯ becomes F×, E♯ | 1 3 5 7 9 | 3 |
| D♯m9 | C× becomes C♯, E♯ | 1 ♭3 5 ♭7 9 | 3 |
| D♯ | F♯, C× becomes F× | 1 3 5 | 2 |
| D♯dim | 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♯7 | F♯, C× becomes F×, C♯ | 1 3 5 ♭7 | 2 |
| D♯m7♭5 | A♯, C× becomes A, C♯ | 1 ♭3 ♭5 ♭7 | 2 |
Frequencies
| Note | MIDI | Frequency |
|---|---|---|
| D♯3 | 51 | 155.56 Hz |
| F♯3 | 54 | 185.00 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, 6, 10, 2}
- Normal order
- [2, 3, 6, 10]
- Prime form
- (0148)
- Forte number
- 4-19
- Interval vector
- <101310>
| Pair | Interval | Semitones | Interval class |
|---|---|---|---|
| D♯ to F♯ | Minor third | 3 | 3 |
| D♯ to A♯ | Perfect fifth | 7 | 5 |
| D♯ to C× | Major seventh | 11 | 1 |
| F♯ to A♯ | Major third | 4 | 4 |
| F♯ to C× | Minor sixth | 8 | 4 |
| 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 minor 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.