D♯7

D♯1F𝄪3A♯5C♯♭7

Major triad, minor seventh. The chord that wants to resolve a fourth up.

Written the other way round it is E♭7 — the same twelve keys on a piano, a different piece of notation.

on guitar on piano the scale

Every fingering that fits a hand

Fig. 2

x334

moderate · barre · no 5

Fig. 3

8a9a

hard

Fig. 4

879x

easy · no 5

Fig. 5

8796

hard · no 5

Fig. 6

879a

hard · no 5

What is true of it

D♯7 is D♯, F𝄪, A♯ and C♯ — 1, 3, 5 and b7 counted from D♯.

F𝄪 is a double sharp, and it has to be: every letter from D♯ upwards is used once, so the 3 cannot be written any other way.

On an instrument that cannot reach all 4, the 5 goes first, in that order.

The easiest of the 5 fingerings below is x334: 2 fingers, one of them barring the 3rd fret, held at the 3rd fret.

None of them uses an open string, so this chord moves up the neck unchanged — the same shape 1 fret higher is the chord a semitone above.

1 of the 5 need a barre.

It leaves out the 5. 4 strings cannot carry 4 notes, and the 5 is the one this chord can lose without changing what it is.

1 string stays silent.

Where its notes are on the neck

Fig. 7 — first 12 frets

The brass dots are D♯, the root. Everything else is a chord tone with its degree printed in it.

With a different note underneath

first inversion

D♯7/F𝄪

0334

second inversion

D♯7/A♯

3334

third inversion

D♯7/C♯

6766

An inversion is the same chord with a different note lowest. The name changes to a slash name because the bass is what a listener hears as the foundation.

D♯ in other shapes

D♯maj7major seventh D♯m7minor seventh D♯m(maj7)minor major seventh D♯major D♯mminor D♯dimdiminished

C7 C♯7 D♭7 D7 E7 F7 F♯7 G♭7 all 374