F#m · G#dim · A · Bm · C#m · D · E
Every natural minor key follows the same pattern: minor, diminished, major, minor, minor, major, major.
F# Minor chord chart
| Degree | Numeral | Chord | Notes | 7th chord | Function |
|---|---|---|---|---|---|
| 1 | i | F#m | F# – A – C# | F#m7 | Tonic |
| 2 | ii° | G#dim | G# – B – D | G#m7b5 | Supertonic |
| 3 | III | A | A – C# – E | Amaj7 | Mediant |
| 4 | iv | Bm | B – D – F# | Bm7 | Subdominant |
| 5 | v | C#m | C# – E – G# | C#m7 | Dominant |
| 6 | VI | D | D – F# – A | Dmaj7 | Submediant |
| 7 | VII | E | E – G# – B | E7 | Subtonic |
F# minor scale: F# – G# – A – B – C# – D – E. Key signature: 3 sharps (F♯, C♯, G♯).
Common chord progressions in F# Minor
Minor pop loop
i – VI – III – VII
- iF#m
- VID
- IIIA
- VIIE
The four chords of the pop progression, started on the minor chord — i, VI, III, VII in a minor key is I, V, vi, IV in its relative major.
Minor three-chord progression
i – iv – v – i
- iF#m
- ivBm
- vC#m
- iF#m
The primary chords of the minor key, i, iv and v. Swap the minor v for the major V below for a stronger pull home.
Andalusian cadence
i – VII – VI – V
- iF#m
- VIIE
- VID
- VC#
A stepwise walk down to the major V — the sound of flamenco, and of a long list of rock songs.
Descending fifths
i – iv – VII – III
- iF#m
- ivBm
- VIIE
- IIIA
Each root is a 5th below the one before — the circle of fifths moving through the minor key.
Rising VI – VII
i – VI – VII – i
- iF#m
- VID
- VIIE
- iF#m
Climbs from the VI through the VII back home to i — a staple of rock choruses and film scores.
Minor ii – V – i
iiø7 – V7 – i7
- iiø7G#m7b5
- V7C#7
- i7F#m7
The minor-key jazz cadence. The V7 comes from the harmonic minor scale, which is what makes it resolve so strongly.
Want more? Generate a progression in F# Minor by style, or build your own in the Chord Progression Player.
7th chords in the key of F# Minor
Add the next note of the scale on top of each chord and you get its diatonic 7th chord — the sound of jazz, soul and R&B in F# minor.
Why songs in F# minor use C#, not C#m
The natural minor scale makes the v chord minor (C#m), and it only weakly leads home. Raise the scale's 7th note to E# — the F# harmonic minor scale — and the chord becomes C# major, or C#7. That E# sits a half step below F# and pulls straight to it, which is why most minor-key songs end on C# → F#m or C#7 → F#m.
Playing in F# Minor on guitar
3 of the 7 chords are open chords (A, D, E); F#m, G#dim, Bm, C#m need a barre or a moveable shape. A capo lets you swap those for open shapes:
Capo 2 + E minor shapes
Finger Em, F#dim, G, Am, Bm, C, D — they sound as F#m, G#dim, A, Bm, C#m, D, E. 5 of the 7 shapes are open chords.
See the E minor chordsCapo 7 + B minor shapes
Finger Bm, C#dim, D, Em, F#m, G, A — they sound as F#m, G#dim, A, Bm, C#m, D, E. 4 of the 7 shapes are open chords.
See the B minor chords
Frequently Asked Questions
The key of F# minor has seven chords: F#m, G#dim, A, Bm, C#m, D and E. Each is built from the notes of the F# natural minor scale (F# G# A B C# D E), so all seven share one key signature: 3 sharps (F♯, C♯, G♯).
F#m, Bm and C#m — the i, iv and v chords. Those three contain every note of the F# minor scale between them, which is why so many songs in F# minor use little else.
A major. It uses the same seven chords and the same key signature as F# minor; the difference is which chord feels like home. A song that keeps returning to A is in A major; one that settles on F#m is in F# minor.
3 sharps (F♯, C♯, G♯). F# minor shares its key signature with its relative major, A major.
The natural F# minor scale gives a minor v chord, C#m, which only weakly leads home. Raising the scale's 7th note to E# (the harmonic minor scale) turns it into C# major, or C#7, whose E# sits a half step below F# and pulls straight to it. Most minor-key songs use the major V at cadences.
F#m7, G#m7b5, Amaj7, Bm7, C#m7, Dmaj7 and E7. Each adds the next note of the scale on top of the triad, which gives three minor 7ths, two major 7ths, one dominant 7th and one half-diminished (m7♭5).
Stacking the scale notes on G# gives G#, B, D: a minor 3rd and then another minor 3rd, so the 5th is flattened. It is the least-used chord in the key — songs often skip it, or use Bm where it would go.
Use a capo. Only 3 of the 7 chords in F# minor are open chords, but with a capo on fret 2 you can play E minor shapes (Em, F#dim, G, Am, Bm, C and D) and they sound in F# minor. 5 of those shapes are open chords.