The G7#5 mandolin chord is a 7th sharp 5th chord with the notes G, B, D#, F. Its first mandolin voicing is the open position: G string open; D string at fret 1 (index finger); A string at fret 2 (ring finger); E string at fret 1 (middle finger). Whether you are learning it for the first time or checking a voicing, this page has the notes, the mandolin fingerings, the inversions and alternatives, and the progressions it appears in.
What notes are in the G7#5 chord?
The G7#5 chord is a 7th sharp 5th chord, and its notes are fixed: G, B, D#, F. 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 G, so you can see the structure of G7#5 at a glance. On the mandolin, start with the first voicing above and listen for the notes G, B, D#, F in G7#5.
| Note | Interval |
|---|---|
| G | Root |
| B | 3 |
| D# | #5 |
| F | b7 |
The root is G, the note the chord is named after and the note your ear hears as home. Above it, the intervals in G7#5 are 3, #5, b7. That combination is what makes G7#5 sound the way it does: the intervals decide the colour, and the root decides the pitch. On the mandolin, the notes appear in the order the fingering dictates, but the set of notes never changes.
G7#5 sounds restless and altered, the sound of a V chord with an extra push toward the tonic. That character comes straight from the intervals above, not from the instrument: the same notes on piano, guitar or ukulele carry the same colour, even though the voicing changes. On the mandolin, start with the first voicing above and listen for the notes G, B, D#, F in G7#5.
Comparing G7#5 with its closest relatives helps to fix it in your ear. In short, 7#5 against dominant 7th: G7#5 raises the 5th to D# where the plain dominant 7th keeps the perfect 5th D. The raised 5th adds lift and tension at the same time. Hearing the comparison matters more than reading it: play G7#5, then play the chord it is compared with above, and let your ear find the note that changed. On the mandolin, start with the first voicing above and listen for the notes G, B, D#, F in G7#5.
How to play G7#5 on mandolin
On the mandolin, G7#5 has 3 voicings in the data below, and each one uses the same notes — G, B, D#, F — in a different place on the neck. Start with the first voicing and get it clean before you try the movable shapes further up the neck. Finger numbers below use 1 for the index finger, 2 for the middle finger, 3 for the ring finger and 4 for the little finger, and x means the string is not played.
The open position is the voicing to learn if you want G7#5 in open position: G string open; D string at fret 1 (index finger); A string at fret 2 (ring finger); E string at fret 1 (middle finger). This voicing is comfortable because the fretted notes sit close together, from fret 1 to fret 2, so your hand stays relaxed and every note can ring. Strum or pluck it slowly first and check that every note in G7#5 — G, B, D#, F — sounds, with no buzz and no accidental open string.
For the movable voicing, G7#5 sits in around fret 3: G string at fret 4 (ring finger); D string at fret 3 (index finger); A string at fret 6 (little finger); E string at fret 3 (middle finger). The stretch is the challenge: the fretted notes span from fret 3 to fret 6, so keep your thumb low behind the neck and let your fingers reach rather than squeezing the neck. Strum or pluck it slowly first and check that every note in G7#5 — G, B, D#, F — sounds, with no buzz and no accidental open string.
For the movable voicing, G7#5 sits in around fret 8: G string open; D string at fret 9 (middle finger); A string at fret 8 (index finger); E string at fret 11 (ring finger). The stretch is the challenge: the fretted notes span from fret 8 to fret 11, so keep your thumb low behind the neck and let your fingers reach rather than squeezing the neck. Strum or pluck it slowly first and check that every note in G7#5 — G, B, D#, F — sounds, with no buzz and no accidental open string.
Choosing between the voicings of G7#5 is a musical decision, not a right-or-wrong one. The open or low-position voicing rings the most and suits strumming, while a barre or movable voicing lets you slide G7#5 up the neck to any key without changing the shape. When you change chords, pick the voicing of G7#5 that sits closest to the chord before it — shorter moves between shapes mean faster, cleaner changes. Practise the change into G7#5 from the chord that comes before it in your song, not the chord on its own, because the move is the skill. On the mandolin, the open position of G7#5 puts those notes under your fingers in the order the fingering lists them.
A short practice routine for G7#5 on the mandolin: play the first voicing four times slowly, checking each note, then change to it from the chord a fourth above G and back, four times, at a slow tempo. Then play the second voicing the same way. If a note buzzes, stop and fix the finger placement rather than playing through the buzz — clean notes at a slow tempo become clean notes at full tempo, while buzzes practised fast become habits. Use the Mandolin Chord Finder to see the diagram for G7#5 while you practise, and the Chord Finder to compare it with the same chord on other instruments.
Common mistakes
These are the mistakes that most often make G7#5 sound wrong on the mandolin, and each one has a concrete fix. Work through them one at a time rather than trying to fix everything at once.
Missing one string of a course. Mandolin strings come in pairs, and G7#5 needs both strings of each course to sound. If one string of a pair is muted by a neighbouring finger, the chord sounds thin. Check each course separately by plucking it on its own. On the mandolin, the open position voicing is the place to hear it in G7#5.
Playing a perfect 5th. If the 5th is D the chord is a plain dominant 7th. The sharpened 5th D# is the note that makes it altered. On the mandolin, the open position of G7#5 puts those notes under your fingers in the order the fingering lists them.
Confusing it with the augmented triad. The augmented triad has no 7th. G7#5 adds the flattened 7th F to the augmented triad — that 7th is essential. On the mandolin, start with the first voicing above and listen for the notes G, B, D#, F in G7#5.
Using it as a tonic. G7#5 is an altered dominant. It wants to resolve to the tonic a fourth above its root. On the mandolin, the open position of G7#5 puts those notes under your fingers in the order the fingering lists them.
Where G7#5 is used
G7#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 C major, the key of D major, the key of G major. an altered dominant in jazz, where the sharpened 5th adds tension before a resolution. As a dominant-type chord it also points toward C major, the key a perfect fourth above G, which is the tonic it most often resolves to. That is where G7#5 does its work: not as a home chord, but as a chord that creates movement and then resolves. On the mandolin, the open position voicing is the place to hear it in G7#5.
Because G7#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 G 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 G7#5 in a progression in any key and hear how it connects to the chords around it. On the mandolin, the open position of G7#5 puts those notes under your fingers in the order the fingering lists them.
The same chord on other instruments is covered in G7#5 on guitar, G7#5 on piano, G7#5 on ukulele, and the scales that fit over it are the G major scale and the G minor pentatonic scale. Learning G7#5 on the mandolin and then checking it on another instrument is one of the best ways to fix the notes — G, B, D#, F — in your memory, because the notes stay the same while everything else changes.
Practising G7#5
A short worked example makes G7#5 concrete. Play the four-chord progression C – G – Am – F in C major, the key G7#5 most often resolves toward: C – G – Am – F. Play each chord for one bar at a slow tempo, and listen to how G7#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 G7#5 itself, and notice how its character changes when it opens the progression instead of sitting inside it. On the mandolin, start with the first voicing above and listen for the notes G, B, D#, F in G7#5.
For a second exercise, play G7#5 and then the chord a fourth above G, 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 G7#5 is built for when it acts as a dominant. Finish by playing G7#5 on its own, slowly, and naming each note out loud as you play it: G, B, D#, F. 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 mandolin, start with the first voicing above and listen for the notes G, B, D#, F in G7#5.
Frequently asked questions
How do you play G7#5 on the mandolin?
The first voicing is the open position: frets 0–1–2–1, fingers 0–1–3–2, on the mandolin. That voicing uses the notes G, B, D#, F, and it is the one to learn first. The page above lists more voicings for G7#5, so you can choose the shape nearest the chords around it.
Is G7#5 hard to play on the mandolin?
It depends on the voicing. The first voicing of G7#5 on the mandolin is the easiest starting point, and the movable voicings further up the neck are harder because they need a barre or a wider stretch. Practise the first voicing cleanly at a slow tempo before you try the others, and the harder shapes will come more easily.
What is the easiest voicing of G7#5 on the mandolin?
The open position is the easiest voicing listed for G7#5 on the mandolin: frets 0–1–2–1, fingers 0–1–3–2. Learn that shape first, get every note ringing cleanly, and only then move on to the alternative voicings further up the neck.
What notes are in G7#5?
G7#5 contains G, B, D#, F: root G, major 3rd B, sharpened 5th D# and flattened 7th F. The sharpened 5th is the note that makes it an altered dominant. On the mandolin, the voicings above put that note under your fingers.
What is the difference between G7#5 and G7?
G7 has the perfect 5th D; G7#5 raises it to D#. G7#5 sounds tenser and more exotic, and it is used as an altered dominant in jazz. On the mandolin, the voicings above put that note under your fingers.