The B7#5 bass chord is built from the notes B, D#, G, A. On bass it is outlined with the arpeggio B, G, B, D# — root, 5th, root, 3rd. It is a 7th sharp 5th chord, and this page gives you its exact notes, the fingerings that work on the bass, the mistakes to avoid and the progressions it appears in.
What notes are in the B7#5 chord?
The B7#5 chord is a 7th sharp 5th chord, and its notes are fixed: B, D#, G, A. Every voicing on every instrument uses these same notes, in some order and in some octave — change one of them and you are playing a different chord. The table below lists each note with its interval from the root B, so you can see the structure of B7#5 at a glance. On the bass, play B, G, B, D# and hear how the arpeggio spells out B7#5 without ever playing it as a block.
| Note | Interval |
|---|---|
| B | Root |
| D# | 3 |
| G | #5 |
| A | b7 |
The root is B, the note the chord is named after and the note your ear hears as home. Above it, the intervals in B7#5 are 3, #5, b7. Learn those intervals rather than memorising the shape alone, because the same interval pattern transposed to another root gives you the same quality of chord anywhere. On the bass, the notes appear in the order the fingering dictates, but the set of notes never changes.
B7#5 sounds restless and altered, the sound of a V chord with an extra push toward the tonic. Listen for that character when you play it — if B7#5 does not sound that way, one of the notes is probably wrong, and the table above is the place to check. On the bass, play B, G, B, D# and hear how the arpeggio spells out B7#5 without ever playing it as a block.
Comparing B7#5 with its closest relatives helps to fix it in your ear. In short, 7#5 against dominant 7th: B7#5 raises the 5th to G where the plain dominant 7th keeps the perfect 5th F#. The raised 5th adds lift and tension at the same time. Play both chords slowly, one after the other, and notice which note moves. Naming that note out loud while you play is the fastest way to learn the difference. On the bass, B7#5 is the arpeggio B, G, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
How to play B7#5 on bass
On the bass, B7#5 is not played as a full chord shape the way it is on guitar or piano. Instead you outline it with an arpeggio: the notes B, G, B, D#, which are the chord tones of B7#5 in the order root, 5th, root, 3rd. That pattern is the working shape for this chord on bass, and it tells the listener exactly which chord is sounding, even though you never play all the notes at once.
Practise the arpeggio of B7#5 by playing B on beat one, G on beat two, B on beat three and D# on beat four, one note per beat, letting each note ring for its full value. Then play it backwards — D#, B, G, B — so your fingers learn the shape in both directions. The root B is the anchor: it is the note the rest of the band listens for, so land on it cleanly and on time, and let the 5th G and the 3rd D# colour the bar without pulling attention away from the root.
Once the straight arpeggio of B7#5 is comfortable, try playing just the root B and the 5th G for a whole bar, then add the 3rd D# on the last beat as a passing colour. That root-and-5th skeleton is how most bass lines outline B7#5 in a real song, and the full arpeggio is the version you use when the arrangement has space for it. Check the notes with the Bass Chord Finder and the Chord Finder, and practise the arpeggio against a slow metronome so the notes land exactly on the beat.
Common mistakes
These are the mistakes that most often make B7#5 sound wrong on the bass, and each one has a concrete fix. Work through them one at a time rather than trying to fix everything at once.
Playing a perfect 5th. If the 5th is F# the chord is a plain dominant 7th. The sharpened 5th G is the note that makes it altered. On the bass, play B, G, B, D# and hear how the arpeggio spells out B7#5 without ever playing it as a block.
Confusing it with the augmented triad. The augmented triad has no 7th. B7#5 adds the flattened 7th A to the augmented triad — that 7th is essential. On the bass, play B, G, B, D# and hear how the arpeggio spells out B7#5 without ever playing it as a block.
Using it as a tonic. B7#5 is an altered dominant. It wants to resolve to the tonic a fourth above its root. On the bass, play B, G, B, D# and hear how the arpeggio spells out B7#5 without ever playing it as a block.
Voicing it too low. G low down can sound muddy. Keep the sharpened 5th in a higher octave than the root. On the bass, B7#5 is the arpeggio B, G, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
Where B7#5 is used
B7#5 is not a diatonic triad in any major or minor key, because it is an extended or altered chord, but its base triad belongs to the key of E major, the key of F# major, the key of B major. a passing dominant in chromatic progressions. As a dominant-type chord it also points toward E major, the key a perfect fourth above B, which is the tonic it most often resolves to. That is where B7#5 does its work: not as a home chord, but as a chord that creates movement and then resolves. On the bass, B7#5 is the arpeggio B, G, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
Because B7#5 is an extended or altered chord, it appears in progressions as a colour or a dominant rather than as a diatonic staple. Try it in place of the plain B triad in a progression you already know, and listen to how the extra notes change the feel — that substitution is the usual way extended chords enter real music. The Chord Progression Builder lets you try B7#5 in a progression in any key and hear how it connects to the chords around it. On the bass, the arpeggio B, G, B, D# outlines B7#5 one note at a time.
The same chord on other instruments is covered in B7#5 on guitar, B7#5 on piano, B7#5 on ukulele, and the scales that fit over it are the B major scale and the B minor pentatonic scale. Learning B7#5 on the bass and then checking it on another instrument is one of the best ways to fix the notes — B, D#, G, A — in your memory, because the notes stay the same while everything else changes.
Practising B7#5
A short worked example makes B7#5 concrete. Play the four-chord progression E – B – C#m – A in E major, the key B7#5 most often resolves toward: E – B – C#m – A. Play each chord for one bar at a slow tempo, and listen to how B7#5 sounds in that sequence — whether it feels like home, like a lift, or like a chord on its way somewhere else. Then play the same four chords in a different order, starting on B7#5 itself, and notice how its character changes when it opens the progression instead of sitting inside it. On the bass, B7#5 is the arpeggio B, G, B, D# — root, 5th, root, 3rd — and that order is the shape to learn.
For a second exercise, play B7#5 and then the chord a fourth above B, back and forth, four times each. That move — a chord and the chord a fourth above it — is the most common resolution in Western music, and it is the move B7#5 is built for when it acts as a dominant. Finish by playing B7#5 on its own, slowly, and naming each note out loud as you play it: B, D#, G, A. Naming the notes while you play them is what turns a shape into knowledge you can use in any key. Test yourself with the Practice Chord Quiz and keep time with the Metronome as the tempo rises. On the bass, play B, G, B, D# and hear how the arpeggio spells out B7#5 without ever playing it as a block.
Frequently asked questions
How do you play B7#5 on the bass?
Outline it with the arpeggio B, G, B, D#: root, 5th, root, 3rd. Play one note per beat, with the root B on beat one, and let each note ring. That arpeggio tells the listener exactly which chord is sounding, even though you never play all the notes of B7#5 at once.
What notes are in the B7#5 bass arpeggio?
The arpeggio is B, G, B, D#. It starts on the root B, moves to the 5th G, returns to the root B and finishes on the 3rd D#. Those four notes are the chord tones of B7#5, and playing them in that order is the standard way to outline the chord on bass.
Should you play the full B7#5 chord on bass?
Usually not. On bass the chord is outlined with the arpeggio B, G, B, D#, not strummed as a block. Playing all the notes at once sounds muddy in the low register and hides the root, which is the note the rest of the band is listening for.
What notes are in B7#5?
B7#5 contains B, D#, G, A: root B, major 3rd D#, sharpened 5th G and flattened 7th A. The sharpened 5th is the note that makes it an altered dominant. On the bass, the arpeggio above spells that note out one note at a time.
What is the difference between B7#5 and B7?
B7 has the perfect 5th F#; B7#5 raises it to G. B7#5 sounds tenser and more exotic, and it is used as an altered dominant in jazz. On the bass, the arpeggio above spells that note out one note at a time.