Also written C♯dim or C♯°
C♯ diminished is built from C♯, E and G. This open-position shape uses two fretted notes and two open strings, making it a quick first diminished chord.
The same three notes, with a different one in the bass.
C♯ diminished stacks a minor 3rd (C♯–E) with another minor 3rd (E–G), creating a diminished 5th (C♯–G) that gives the chord its tense, unstable sound. Compare it with C♯ minor, which raises the ♭5 to a perfect 5th.
C♯ diminished fits as a passing chord in B natural minor or D major, often between the tonic and the supertonic. It suits tense, suspenseful passages in classical, jazz, and film music. Try it before D major or after B 5th.
The default voicing puts E in the bass, giving a first-inversion sound that is lighter and less grounded than a root-position C♯ diminished. For a darker, more stable feel, use the 9-7-9-7 shape with G in the bass.
C♯ diminished is played in open position as 0 4 0 4: index finger on the C string at fret 4 and middle finger on the A string at fret 4. The G and E strings ring open.
Tip — The hardest part is fretting two strings at fret 4 while keeping the open E string from being muted by the index finger.
| String | Fret | Finger | Note |
|---|---|---|---|
| 4 (G) | open | — | G (♭5) |
| 3 (C) | 4 | 1 | E (♭3) |
| 2 (E) | open | — | E (♭3) |
| 1 (A) | 4 | 2 | C♯ (1) |
C♯ diminished is played at the 3rd fret as 6 4 3 4: pinky finger on the G string at fret 6, middle finger on the C string at fret 4, index finger on the E string at fret 3 and ring finger on the A string at fret 4.
| String | Fret | Finger | Note |
|---|---|---|---|
| 4 (G) | 6 | 4 | C♯ (1) |
| 3 (C) | 4 | 2 | E (♭3) |
| 2 (E) | 3 | 1 | G (♭5) |
| 1 (A) | 4 | 3 | C♯ (1) |
C♯ diminished is played at the 7th fret as 9 7 9 7: ring finger on the G string at fret 9, index finger on the C string at fret 7, pinky finger on the E string at fret 9 and middle finger on the A string at fret 7.
| String | Fret | Finger | Note |
|---|---|---|---|
| 4 (G) | 9 | 3 | E (♭3) |
| 3 (C) | 7 | 1 | G (♭5) |
| 2 (E) | 9 | 4 | C♯ (1) |
| 1 (A) | 7 | 2 | E (♭3) |
C♯ diminished is played at the 6th fret as 6 7 × 7: index finger on the G string at fret 6, middle finger on the C string at fret 7 and ring finger on the A string at fret 7. The E string stays muted.
| String | Fret | Finger | Note |
|---|---|---|---|
| 4 (G) | 6 | 1 | C♯ (1) |
| 3 (C) | 7 | 2 | G (♭5) |
| 2 (E) | muted | — | — |
| 1 (A) | 7 | 3 | E (♭3) |
C♯ diminished is played in open position as 0 4 3 4: middle finger on the C string at fret 4, index finger on the E string at fret 3 and ring finger on the A string at fret 4. The G string rings open.
| String | Fret | Finger | Note |
|---|---|---|---|
| 4 (G) | open | — | G (♭5) |
| 3 (C) | 4 | 2 | E (♭3) |
| 2 (E) | 3 | 1 | G (♭5) |
| 1 (A) | 4 | 3 | C♯ (1) |
C♯ diminished is written C♯° or C♯dim. The root can also be spelled C# (ASCII) because the sharp sign is not on a keyboard. It is also spelled D♭ in enharmonic notation for the same sounding root.
C♯ minor has a perfect 5th (G♯), while C♯ diminished lowers that note to G, creating a diminished 5th. This single change makes the diminished chord sound much more tense and unresolved.
The diminished 5th interval between C♯ and G is a tritone, which is highly dissonant and wants to resolve. In traditional harmony, this chord often moves to a chord a semitone above the root, like D major.
Yes, the shape at frets 6-4-3-4 keeps the same notes but raises the register. The 9-7-9-7 shape puts G in the bass, giving a second-inversion sound that is useful for voice leading.