C#m7 Chord on Ukulele
C#m7 = C# – E – G# – B (Root, Minor 3rd, Perfect 5th, Minor 7th)
C sharp minor seventh takes C#m's already-convenient shape — a two-string barre plus a free open E string supplying the flatted third — and only moves the fourth finger: instead of stretching the pinky to the A string's fourth fret for a doubled root, a middle or ring finger drops to the second fret for the flatted seventh instead. It's a smaller, closer reach than the minor triad's pinky stretch, so in a strange reversal, the seventh chord is again the easier of the two neighboring shapes.
As the ii chord in the key of B major, C#m7 sets up the textbook ii-V-I cadence into B by way of F#7, a foundational jazz-harmony motion that ukulele players who study standards run into constantly. It also stands as the i7 chord of its own C# minor key, a smokier, more contained cousin of the plain C#m triad. Because the open E string still supplies the flatted third for free, this voicing keeps genuine open-string air running through the middle of the chord, unlike a shape that fretted every string would.
Fingerings
Open Position
How to Practice It
Since the two-string barre and open E string carry over directly from plain C#m, the only new skill is landing a separate finger on the A string's second fret without disturbing the barre — practice that switch (C#m to C#m7) in isolation, moving only the fourth finger while the first finger's barre stays anchored the whole time. The C#m7-to-F#7-to-B ii-V-I cadence rewards slow, deliberate repetition, since it's the single most common practical use of this exact chord shape.
Common Progressions
- ii7 - V7 - I (C#m7 - F#7 - B)
- i7 - iv7 - V7 (C#m7 - F#m7 - G#7, in C# minor)
- vi7 - ii7 - V7 - I (A#m7 - C#m7 - F#7 - B)
- A C#m7-to-F#7 two-chord loop works as a compact jazz practice vamp.
FAQ
- Why is C#m7 easier than C# major seventh?
- It reuses C#m's already convenient two-string barre and free open E string, only asking a single extra finger to move to the second fret for the seventh — a smaller adjustment than C#maj7's wider four-note spread.
- Where does C#m7 function as a ii chord?
- In the key of B major, where it precedes F#7 (V7) on the way to a B (I) resolution — a classic ii-V-I cadence that jazz-oriented ukulele players practice often.
- Does C#m7 ever stand as its own tonic?
- Yes, as the i7 chord of C# minor, though this is a less common context than its role as B major's ii chord in practical repertoire.
- What single note separates C#m7 from plain C#m?
- The A string's finger moves from the fourth fret (doubling the root in the triad) to the second fret (adding the flatted seventh) — everything else in the shape stays exactly the same.
- Does the open E string ever need adjusting for C#m7?
- No — it supplies the flatted third for free in both C#m and C#m7 equally, since adding a seventh doesn't touch the chord's third at all.
- Is C#m7 common outside jazz repertoire?
- Occasionally in moodier pop or folk-adjacent ukulele arrangements wanting a softer minor color than plain C#m, though its clearest and most frequent role remains the ii-V-I jazz cadence.
- Could C#m7 be voiced any lower on the neck?
- Not while keeping the open E string's free third — any lower-position alternative that avoids the two-string barre would need to fret that string as well, giving up the exact convenience this voicing relies on.
- What's the enharmonic relationship between C#m7 and a major sixth chord?
- C#m7 shares its four pitches with A6, the same enharmonic overlap C6 has with Am7 — which label applies depends entirely on whether the surrounding harmony treats A or C# as the functional root.
- How does the barre-plus-open-string feel compare between C#m and C#m7?
- Almost identical under the hand — the barre stays anchored in the same place and the open E string still needs zero attention, so switching between the two chords is really just a small adjustment on the A string.
C#m7 on other instruments: C#m7 on Guitar, C#m7 on Piano. Related: how chords are built, chord finder.