F half-diminished (Fm7♭5 or Fø) — F, A♭, C♭, E♭ — is the iiø7 of E♭ minor, a deeply flat-side chord. The C♭ (enharmonic to B) signals the chord's flat-key home. Like all half-diminished chords, Fm7♭5 sets up minor-key cadences with a darker, jazz-tinged colour.
Intervals
The F half-diminished chord stacks two thirds on the root. Each interval and its size in semitones:
- F→Abminor 3rd3 semitones
- Ab→Cbminor 3rd3 semitones
- Cb→Ebmajor 3rd4 semitones
On the keyboard
Each note of the F half-diminished chord highlighted on a piano. Pitch class is what matters — any octave works.
On the guitar
One voicing of the F half-diminished chord on a six-string guitar fretboard.
Common mistakes
The fifth is C♭, enharmonic to B natural. In jazz lead-sheet practice, the chord is sometimes written Fm7♭5 with B as the fifth letter — strictly incorrect by the seven-letter rule, but common. Inside E♭-minor key contexts, C♭ preserves consistency with the surrounding flat-side harmony.
In context
Fm7♭5 → B♭7 → E♭m is the ii–V–i in E♭ minor. The chord appears in any E♭-minor jazz tune and in classical E♭-minor literature including Bach's WTC I prelude and fugue in E♭ minor.
Drill it
The F half-diminished chord is one of 48 in the Chord Trainer. Open the full trainer to practice it alongside related chords with timing and best-time tracking.
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Frequently asked
- What notes are in an F half-diminished chord?
- F half-diminished contains four notes: F (root), A♭ (minor third), C♭ (diminished fifth — same pitch as B), and E♭ (minor seventh).
- How does Fm7♭5 resolve?
- In E♭ minor: Fm7♭5 → B♭7 → E♭m. The chord prepares the dominant B♭7, which then resolves to the tonic E♭m.
- Why is the fifth C♭ instead of B?
- The half-diminished chord builds on the diminished triad (root, ♭3, ♭5). From F, the fifth letter is C; the diminished version of C natural is C♭. Calling the note B would skip the C letter.
- Where does F half-diminished appear in music?
- In E♭-minor cadences in classical and jazz. Bach's WTC I prelude in E♭ minor uses Fm7♭5; jazz pianists like Bill Evans use it constantly in their darker minor-key voicings.