F#7 ukulele chord

F#7 (F sharp seventh) is built from F#, A#, C# and E, the degrees 1–3–5–b7. On ukulele, the main shape is 3 4 2 4, the first diagram, marked with the star.

Say this out loud: "one, two..." — and stop right there. Uncomfortable, isn't it? The sentence is hanging. That discomfort has a sound: F#7 is a sentence without a period. Hit play below.

Hear F#7 before you play

Why F#7 sounds this way

Why does it sound unfinished? Inside F#7, two notes are at odds: A# and E. Go back to the audio and catch the arpeggio note by note and catch the second and the last note — the distance between them is the tritone, one of the tensest intervals in tonal music. F# and C# keep the house standing while those two argue inside it. And an argument, you know, demands a resolution.

How to play F#7 on ukulele

On the ukulele, the high reentrant G makes every shape light — and with four strings, every note is exposed. So grab the first position below; it's the main shape — that's why it carries the ⭐. Now the experiment that explains this chord better than any explanation: play F#7, count to three, then play B. Felt the door close? Do it again. That relief is the dominant's job.

Precision Tuner: Get in tune before you play: chromatic tuner and reference tones, free in standard tuning · use it in Chord and Fret

Save the positions below for when the blues calls: over there, this chord is the house language.

F#7 notes and degrees

F#7 stacks the root F#, the major third A#, the perfect fifth C# and the minor seventh E.

Where F#7 shows up

Its most common job is the dominant, and dominants live as VII7 in G# minor, V7 in B major. Translation: wherever it shows up, the music is usually about to move. In the blues, though, F#7 can also be the home chord. A chart full of 7th chords is a song that won't sit still.

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Where F#7 usually goes

When F#7 works as the dominant of B, it tends to resolve to B or BmBmBmBm. In other contexts the sequence changes: in the blues, F#7 can be the home chord itself. It's a tendency, not a law.

Going beyond F#7

For soloing, F# Mixolydian (F# G# A# B C# D# E · 1 2 3 4 5 6 b7: the major scale with a lowered seventh — the blues accent); F# Lydian dominant (F# G# A# B# C# D# E · 1 2 3 #4 5 6 b7: a mixolydian with a raised fourth: the dominant in formalwear) cover the whole chord. And look at the first swap on the list below: that's the famous tritone substitution, the twin dominant living three whole steps from here, the one arrangers reach for when they want to arrive at the same place by a prettier road.

Scale: The scale's positions across the neck, with degree, note and finger labels, free; playing the scale and the tempo-ramp exercise are part of Pro · open in Chord and Fret

Scales to improvise over F#7

The F# Mixolydian scale is a common choice over F#7: it contains every note of the chord. The best fit depends on the key, the surrounding chords and the tensions you want. When F#7 moves to B, its third, A#, is the leading tone of B: the note that wants to rise a half step.

Swaps that work:

• C7C7C7C7 — Tritone substitution (shared 3rd–7th tritone)
• C#m7C#m7C#m7C#m7 — Forms a II–V: precede with this ii
• Gdim7 — Passing diminished (ascending)

Reharmonize: Want richer substitutions? Reharmonize's Subtle and Medium levels are free; Bold and Jazz are part of Pro · see it in Chord and Fret

The question this page asked has a one-click answer: B. Don't end the day without playing both in a row.

Updated October 20, 2026