- ii7B♯m7
- V7E♯7
- Imaj7A♯maj7
E♯7 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The E♯7 chord is a dominant seventh chord built on the root note E♯. Its notes are E♯, G𝄪, B♯ and D♯. It's enharmonically the same chord as F7.
Dominant seventh chords sound tense and bluesy. The minor seventh on top of a major triad creates a pull toward a resolution, which is why this chord powers the blues and drives cadences in jazz and pop.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
To play E♯7 on piano, place your right hand with your thumb on E♯, index finger on G𝄪, middle finger on B♯ and little finger on D♯. 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, E♯7 is commonly played with the voicing shown above. This one is a barre shape: keep the index finger flat across the fretboard and curve the others so they don't mute the strings next to them. Strum only the strings marked as active in the diagram.
Also known as F7
| Degree | Interval | Semitones | Note | Hear |
|---|---|---|---|---|
| 1 | Root | 0 | E♯(E#) | |
| 3 | Major third | 4 | G𝄪(G##) | |
| 5 | Perfect fifth | 7 | B♯(B#) | |
| ♭7 | Minor seventh | 10 | D♯(D#) |
The E♯7 chord is built from a root, a major third, a perfect fifth and a minor seventh. Start at the root E♯ and stack the intervals to get the whole chord: E♯, G𝄪, B♯ and D♯. The same formula gives you the chord in any other key.
Blues, jazz, funk and rock'n'roll all run on dominant seventh chords. They typically act as the V7 resolving back to the tonic, or carry a twelve-bar blues from end to end.
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.
E♯7 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The twelve-bar shape boiled down. The tonic is itself a dominant seventh, which is what makes it a blues.
The turnaround at the end of a chorus: E♯7 is the chord that sends it round again.
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