- ii7A♭m7
- V7♯5D♭7♯5
- Imaj7G♭maj7
D♭7♯5 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The D♭7♯5 chord is a altered dominant seventh chord built on the root note D♭. Its notes are D♭, F, A and C♭. It's enharmonically the same chord as C♯7♯5.
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 D♭7♯5 on piano, place your right hand with your thumb on D♭, index finger on F, middle finger on A and little finger on C♭. Press the keys together and listen for an even sound. On the keyboard D♭ is a black key and F, A and C♭ are white. C♭ is the key you'd normally call B. The thumb starts on a black key, so slide the whole hand a little further in, towards the fallboard. 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, D♭7♯5 is commonly played with the voicing shown above. The fretted notes sit between frets 1 and 4. String 2 rings open. Don't play string 6.
D♭ · F · A · C♭
Try D♭7♯5 on the virtual piano
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Also known as C♯7♯5
| Degree | Interval | Semitones | Note | Hear |
|---|---|---|---|---|
| 1 | Root | 0 | D♭(Db) | |
| 3 | Major third | 4 | F | |
| ♯5 | Augmented fifth | 8 | A | |
| ♭7 | Minor seventh | 10 | C♭(Cb) |
The D♭7♯5 chord is built from a root, a major third, an augmented fifth and a minor seventh. Start at the root D♭ and stack the intervals to get the whole chord: D♭, F, A and C♭. 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.
D♭7♯5 is D♭7 with the fifth raised by a half step, and that raised fifth is the only difference. Seen from the other side, it is D♭+ with a minor seventh added. All four of its notes belong to the whole-tone scale, which gives it a floating, restless pull.
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.
D♭7♯5 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
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