Voicings · Bm7♭5 · Piano
Bm7♭5 is spelled B – D – F – A (1 ♭3 ♭5 ♭7) — the iiø chord of a minor ii–V–i. Here are 6 ways to voice it on piano: close position, drop 2, drop 3, shell, rootless a, rootless b. Every diagram is playable — press play to hear the chord, or “roll it” to hear the voices one by one, low to high.
The voicings
Root, third, fifth and seventh stacked within one octave — the reference voicing (piano; too tight to finger on guitar).
Take the close voicing and drop its second-highest voice an octave. The most-used four-note voicing on guitar and in piano left hands.
Drop the third-highest voice of the close voicing an octave: a wide, open sound.
Root, seventh and third only. The fifth is dropped — it adds nothing to the chord's identity — leaving a light, clear voicing.
Bill Evans-style left-hand voicing: the third on the bottom, the ninth on top, the bass player supplies the root.
The companion rootless voicing with the seventh on the bottom. Alternate A and B so the top voice moves by step through a ii–V–I.
Reference
| Chord tone | Note | Interval |
|---|---|---|
| 1 | B | unison |
| ♭3 | D | minor 3rd |
| ♭5 | F | tritone |
| ♭7 | A | minor 7th |
Arpeggio: Bm7♭5 arpeggio on piano. Scale: B Locrian.
Common questions
B, D, F, A — chord tones 1 ♭3 ♭5 ♭7. Rootless voicings add the 9th, C♯, and leave the root to the bass.
The shell voicing: B – A – D in the left hand. Three notes that carry the whole identity of the chord.
Start from the close voicing B D F A and drop the second note from the top an octave: F – B – D – A. It spreads the chord so it fits the hand — and on guitar it fits four adjacent strings.
Bm7♭5 is the iiø chord of a minor ii–V–i. Its character is dark, unstable, leading.
Keep going
Same chord on guitar · Half-diminished (m7♭5) hub.
Other chords from B