- ii7F♯m7
- V7♯5B7♯5
- Imaj7Emaj7
B7♯5 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The B7♯5 chord is a altered dominant seventh chord built on the root note B. Its notes are B, D♯, F𝄪 and A.
Dominant seventh sharp five chords sound restless and a little exotic. Raising the fifth of a dominant seventh trades its usual bluesy pull for a sharper, whole-tone edge, a colour jazz and gospel players reach for right before a cadence.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
To play B7♯5 on piano, place your right hand with your thumb on B, index finger on D♯, middle finger on F𝄪 and little finger on A. Press the keys together and listen for an even sound. Practice moving in and out of the chord slowly, then bring in a metronome.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
On guitar, B7♯5 is commonly played with the voicing shown above. Strum only the strings marked as active in the diagram.
| Degree | Interval | Semitones | Note | Hear |
|---|---|---|---|---|
| 1 | Root | 0 | B | |
| 3 | Major third | 4 | D♯(D#) | |
| ♯5 | Augmented fifth | 8 | F𝄪(F##) | |
| ♭7 | Minor seventh | 10 | A |
The B7♯5 chord is built from a root, a major third, an augmented fifth and a minor seventh. Start at the root B and stack the intervals to get the whole chord: B, D♯, F𝄪 and A. The same formula gives you the chord in any other key.
Dominant seventh sharp five chords turn up in jazz and gospel as an altered V7 resolving to the tonic, especially where the melody climbs through the raised fifth. They are a common sound in turnarounds right before landing back on I.
A dominant chord wants to resolve. Its home is the V of a major key - and the I of a blues, where the pull never lets up.
B7♯5 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
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