semicord

Dbm(maj7) Db minor-major seventh chord

Notes
Db Fb Ab C
Formula
1 b3 5 7
Semitones
0 3 7 11 above the root
Also written
C#m(maj7) (C# E G# B#)
Other symbols
DbmM7, Dbm(Δ7), Dbmin(maj7)

Db to Fb is a minor third (3 semitones), Fb to Ab is a major third (4 semitones), Ab to C is a major third (4 semitones). A minor triad with a major seventh, C, a half step below the root. The minor third Fb and the major seventh make an augmented triad (Fb Ab C) inside the chord, which gives it its tense, suspenseful sound.

Dbm(maj7) on the piano

C4D4Fb4F4G4A4B4C5D5E5F5G5A5B5Db4Eb4F#4Ab4Bb4C#5Eb5F#5Ab5Bb5C4DbFbAbCC5

Root position from Db4: Db4, Fb4, Ab4, C5. Middle C is C4.

Dbm(maj7) on the guitar

Standard tuning (E A D G B E). Strings run low E on the left to high e on the right, frets downwards; × is a muted string, ○ an open string, and each dot shows the note it sounds, with the root in blue-green. Every shape below has Db as its lowest note.

4fr×DbDbAbAbCCFbFbAbAb
A-shape barre, root on the A string at fret 4
x 4 6 5 5 4 (low E to high e)
Sounds Db3 Ab3 C4 Fb4 Ab4
9frDbDb×CCFbFbAbAb×
E-shape, root on the E string at fret 9
9 x 10 9 9 x (low E to high e)
Sounds Db3 C4 Fb4 Ab4

The E-shape and A-shape grips are movable: an E-shape chord's root is the note under your first finger on the low E string, an A-shape chord's root is the note on the A string. Slide the same grip up or down to play minor-major seventh chords on other roots.

Inversions of Dbm(maj7)

An inversion puts a note other than the root in the bass. The name is what semicord's chord finder calls those notes played bottom to top; a slash name like C/E means a C chord with E in the bass.

PositionNotes, bass firstNamedListen
Root positionDb Fb Ab CDbm(maj7)
1st inversionFb Ab C DbDbm(maj7)/E
2nd inversionAb C Db FbDbm(maj7)/Ab
3rd inversionC Db Fb AbC#m/C (also written Dbm/C; also read as Dbm(maj7)/C)

Where Dbm(maj7) fits

Dbm(maj7) is i(maj7) in C# minor (where it is spelled C#m(maj7)). Most often it is a passing chord in the descending line Dbm → Dbm(maj7) → Dbm7 → Dbm6, where one voice falls a half step at a time from Db. The first four bars of the jazz standard "My Funny Valentine" (Cm, Cm(maj7), Cm7, Cm6 in C minor) are exactly that line.