In every key
The same shape, moved. The symbols below are spelled the way the app spells them, which is the spelling the chord's own scale asks for rather than whichever accidental is easier to type.
- Cmaj7b5
- Dbmaj7b5
- Dmaj7b5
- Ebmaj7b5
- Emaj7b5
- Fmaj7b5
- F#maj7b5
- Gmaj7b5
- Abmaj7b5
- Amaj7b5
- Bbmaj7b5
- Bmaj7b5
Voicings
Written in C, because that is the key the encyclopedia authors them in; every one transposes unchanged.
Root Position (R-3-b5-7)
C · E · Gb · B
intermediate
RH 1-2-3-5 on C-E-Gb-B; voice the Gb b5 and B maj7 as the two color tones, keep them clear.
Rootless (3-b5-7-9)
E · Gb · B · D
advanced
LH 5-4-2-1; the E-Gb whole-step at the bottom is the signature crunch — keep both audible.
Drop-2 (3-7-R-b5)
E · B · C · Gb
advanced
LH takes E-B; RH plays C-Gb as a tritone on top — let it ring open.
Where it turns up
Used as a static Lydian tonic color and as a IV-of-IV sound. Bill Evans, Clare Fischer and Wayne Shorter favor the maj7b5 for its floating, unresolved brightness. Resolves outward from the b5.
Commonly swapped with
- Cmaj7#11 (omit 5)
- Gb7#11 (tritone, shares E/B/Gb)
- Em7b5/C