| Major 7 | ma7 voicings | Other 7th chords | Guitar voicing | Diatonic 7th chords | |
| Minor keys | Melodic minor | II-V-I | Analysis | [Top] |
Many discussions of Seventh chords begin with the type known as a 'Dominant 7th' chord as it is the most common of the 7th chord types. From a historical perspective the use of dominant seventh chords preceeds the use of other types. In today's music however, the use of a variety of types of 7th chords is fairly common. Since this document discusses all of basic types of 7th chords I will begin here with the Major 7th chord because today that chord is often used as a standard from which to compare and measure the other forms.
A major 7th chord is a four note chord consisting of a major triad with an additional tone added that is a major 7th interval from the root. The resulting chords contains four different letter names. The major 7 chord contains the same notes as the first, third, fifth and seventh note of a major scale. When thinking of the chord as a stacking of thirds notice the alternating pattern of ma3 (Root to the third) , mi3 (third to fifth), ma3 (fifth to seventh). Below are two different major 7th chords, one rooted on C and the other rooted on F.
As shown above, these voicing are called "close" position because the notes are compressed into a single octave range, as close as possible. On the keyboard these voicings are comfortable and on the guitar the major 7 chord is fairly easy too. As we change to other forms of 7th chords the close position voicing remains easy on a keyboard but on guitar the fingerings become difficult. For that reason it is common on the guitar to use open position voicings. The use of the term open position in this case simply means it is NOT close position and the chord member are NOT arranged in the order Root, 3rd, 5th, 7th.
Two typical open position voicings are used in this section. They are arbitrarily named "Voicing I" and "Voicing II".
Voicing I opens the structure by moving the 3rd of the chord up an octave. There are two examples of that voicing one rooted on string 5 and one rooted on string 4. The numbers below the diagram indicate on which string the chord members are located. Even though the two examples look different, they are equivalent as far as their intervallic structure. In fact, if you play the voicing on the right at the 8th fret it contains the same pitches as the voicing on the left at the 3rd fret (both a Fma7 chord) and the notes on the staff look exactly the same for both versions of voicing I. Guitarist should think of these two versions of voicing I as two ways to play the same thing. When playing major 7 chords rooted at other pitches you may find that one of the two is more convenient than the other.
NOTE: guitar music sounds an octave lower than written so the equivalent piano voicings show the actual pitch.
/------- Voicing I --------\
___________ ___________
|_|_|_|_|_| |_|_|_|_|_|
|_|_|_|_|_| |_|_|_|_|_|
8 |(o)|_|_|_| 3 |_|(o)|_|_|
|_|_|_o_|_| |_|_|_|_|_|
|_|_o_|_o_| |_|_|_o_o_o
R 5 7 3 R 5 7 3
The second voicing used in this section moves two chord tones, the 3rd and the 5th, up an octave. Here are two examples of that voicing one rooted on string 6 and one rooted on string 5. Both these examples can be used for a Cma7 chord, the one on the left should be played at the 8th fret or the one on the right should be played at the 3rd fret.
/------- Voicing II --------\ ___________ ___________ |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| 8 (o)|_|_|_o_| 3 |(o)|_|_|_o |_|_o_o_|_| |_|_|_o_|_| |_|_|_|_|_| |_|_|_|_o_| R 7 3 5 R 7 3 5
Once again, even though the two guitar voicings look different, they are equivalent as far as their intervallic structure, they just use different sets of strings.
Keyboard players do not run into this situation because on a keyboard there is only one version of each pitch, yet this concept of multiple versions of the same thing is 'business-as-usual' on the guitar.
If you build a 7th chord on every scale degree of the major scale you will find that two of the chords are major 7 chords, the I chord and the IV. Although the triad at the V position is major, the addition tone of the 7th chord is not a major seventh from the root of the chord but instead a minor 7th. We will examine the 7th chords at all scale degree in a moment. First, a few definition of other 7th chords.
Here is a list of some of the terms and symbols used in association with 7th chords. This isn't a complete list but it will be a good start. A discussion follows the list.
| name | symbols | ||
|---|---|---|---|
| Major 7 | ma7 | �7 | |
| Minor 7 | mi7 | m7 | -7 |
| Dominant 7 | 7 | ||
| Minor 7 flat 5 | m7b5 | Ø7 | |
| Half diminished 7 | (alternate term for m7b5) | ||
| Diminished 7 | o7 | ||
NOTE: the alternate symbol for major 7 is supposed to be a triangle symbol followed by the number 7. Also the alternate symbol for half-dim is supposed to be a circle with a slash through it followed by the number 7. They don't show up properly in many browsers.
Using the major 7 chord as a standard structure, the other types of 7th chords can be defined by how there differ from the major 7 chord. As an example, the Dominant 7 chord can be defined as the same a Major 7 except the 7th is lower one half step. The formula for the common 7th chords is listed below.
A number system can be used with the standard Ma7 represented by the sequence "1 3 5 7"
---------------------
Dominant 7th chord (7) structure: 1 3 5 b7
like major 7th with a lowered 7th
(The second chord is a Dominant 7th chord)
---------------------
Minor 7 (mi7, -7) structure: 1 b3 5 b7
like major 7th with a lowered 7th and 3rd
(The second chord is a Minor 7th chord)
---------------------
Half diminished 7 (m7b5) structure: 1 b3 b5 b7
like major 7th with a lowered 7th, 3rd and 5th
(The second chord is a Half Diminished 7th [Minor 7b5] chord)
---------------------
Diminished 7 (dim7, o7) structure: 1 b3 b5 bb7
not like major 7th because it has a doubly lowered 7th and a lowered 3rd and 5th.
(the doubly lowered 7th is an enharmonic of a major 6th from 1)
(The second chord is a Diminished 7th chord)
A word about the use of the symbol "b" (flat) is in order. When you apply these formulas to keys containing sharps, often the lowered notes (numbers with a "b") actually turn out to be naturals (not literally flats).
An example illustrates:
Dma7 is spelled D F# A C#. Applying the formula 1 3 5 b7 to create a D7 chord will yield D F# A C. There are no flats involved. The "b7" really means "lowered 7th" and in this case "C#" is lowered to become "C".
D F# A C# (Dma7) D F# A C (D7)
[insert image]
Shown below are the chord diagrams for the different common 7th chords. These voicing are based on the four Ma7 chord voicings shown earlier (voicing I and II). Each column to the right makes one appropriate change to the chord in the column to its left.
Ma7 dom7 mi7 mi7b5 dim7
7 -7 o7
___________ ___________ ___________ ___________ ___________
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_o_|_|
|(o)|_|_|_| |(o)|_o_|_| |(o)|_o_|_| |(o)|_o_|_| |(o)|_|_|_|
|_|_|_o_|_| |_|_|_|_|_| |_|_|_|_o_| |_|_o_|_o_| |_|_o_|_o_|
|_|_o_|_o_| |_|_o_|_o_| |_|_o_|_|_| |_|_|_|_|_| |_|_|_|_|_|
Ma7 dom7 mi7 mi7b5 dim7
7 -7 o7
___________ ___________ ___________ ___________ ___________
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
|_|(o)|_|_| |_|(o)|_|_| |_|(o)|_|_| |_|(o)|_|_| |_|(o)|_o_|
|_|_|_|_|_| |_|_|_|_o_| |_|_|_|_o_o |_|_|_o_o_o |_|_|_o_|_o
|_|_|_o_o_o |_|_|_o_|_o |_|_|_o_|_| |_|_|_|_|_| |_|_|_|_|_|
>
Ma7 dom7 mi7 mi7b5 dim7
7 -7 o7
___________ ___________ ___________ ___________ ___________
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_o_| |_|_o_|_o_|
(o)|_|_|_o_| (o)|_o_|_o_| (o)|_o_o_o_| (o)|_o_o_|_| (o)|_|_o_|_|
|_|_o_o_|_| |_|_|_o_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
>
Ma7 dom7 mi7 mi7b5 dim7
7 -7 o7
___________ ___________ ___________ ___________ ___________
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_o |_|_|_o_|_o
|(o)|_|_|_o |(o)|_o_|_o |(o)|_o_|_o |(o)|_o_|_| |(o)|_|_|_|
|_|_|_o_|_| |_|_|_|_|_| |_|_|_|_o_| |_|_|_|_o_| |_|_|_|_o_|
|_|_|_|_o_| |_|_|_|_o_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
>
The next two rows contains voicings of 'incomplete' 7th chords. These chords contain no 5th and instead double the root. Note that since the 5th of the chord is not included in these voicings, the mi7 and mi7b5 look the same. These voicing are useful in creating smooth voice-leading as will be shown later.
Ma7 dom7 mi7 mi7b5 dim7
7 -7 o7
___________ ___________ ___________ ___________ ___________
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
|_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
|_|_|_|(o)| |_|_|_|(o)| |_|_o_|(o)| |_|_o_|(o)| |_|_o_|(o)|
|_|_o_|_|_| |_|_o_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_o_|_|
|(o)|_|_|_| |(o)|_o_|_| |(o)|_o_|_| |(o)|_o_|_| |(o)|_|_|_|
|_|_|_o_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
>
Ma7 dom7 mi7 mi7b5 dim7
7 -7 o7
___________ ___________ ___________ ___________ ___________
|_|_|_|_|(o) |_|_|_|_|(o) |_|_|_o_|(o) |_|_|_o_|(o) |_|_|_o_|(o)
|_|_|_o_|_| |_|_|_o_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
|_|(o)|_|_| |_|(o)|_|_| |_|(o)|_|_| |_|(o)|_|_| |_|(o)|_o_|
|_|_|_|_|_| |_|_|_|_o_| |_|_|_|_o_| |_|_|_|_o_| |_|_|_|_|_|
|_|_|_|_o_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_|
Its valuable to memorize the diatonic 7th chords in the major scale as they form the basic harmonic system that supports melodies using that scale. The major scale (and its modes) have a pattern of sevenths chords as follows:
Diatonic 7th chords in MAJOR
I II III IV V VI VII
ma7 mi7 mi7 ma7 7 mi7 m7b5
Two specific examples in the keys of C and Eb:
I II III IV V VI VII
Key of C: Cma7 Dm7 Em7 Fma7 G7 Am7 Bm7b5
Key of Eb: Ebma7 Fm7 Gm7 Abma7 Bb7 Cm7 Dm7b5
[insert image]
Dorian simply starts with the first mi7 and then cycles through the chord sequence. Notice that when referenced to dorian the I chord is mi7. Dorian is a minor type mode. If you are interested in modal jazz, you need to be at one with this harmonic environment.
[insert image]
Diatonic 7th chords in DORIAN I II III IV V VI VII mi7 mi7 ma7 7 mi7 m7b5 ma7 [insert image] The 7th chord harmony system work the same way for the rest of the modes. The Phrygian mode is common in flamenco music, and its characteristic feature of a half step between the first two scale degrees is very recognizable. Diatonic 7th chords in PHRYGIAN I II III IV V VI VII mi7 ma7 7 mi7 m7b5 ma7 mi7 [insert image] The lydian mode is commonly used in jazz. Frequently jazz player use the lydian mode during major seventh chord. Diatonic 7th chords in LYDIAN I II III IV V VI VII ma7 7 mi7 m7b5 ma7 mi7 mi7 [insert image] The Mixolydian mode shows up in Boogie Woogie, Blues, Funk, Rock & Roll and some folk songs. Diatonic 7th chords in MIXOLYDIAN I II III IV V VI VII 7 mi7 m7b5 ma7 mi7 mi7 ma7 [insert image] The Aeolian mode is very common and is also know as natural minor. Diatonic 7th chords in AEOLIAN I II III IV V VI VII mi7 m7b5 ma7 mi7 mi7 ma7 7 [insert image] The Locrian mode is not as common. Since the tonic chord doesn't have a perfect fifth interval, it is an unstable sound that usually doesn't work as a convincing tonic chord. That's the beauty of it. Diatonic 7th chords in LOCRIAN I II III IV V VI VII m7b5 ma7 mi7 mi7 ma7 7 mi7
You can apply the same procedure to minor scales to create another harmonic system suited for minor keys. The 7th chord harmonic system for Natural minor is the same as shown above for AEOLIAN. AEOLIAN and Natural Minor are identical. Nothing new is gained by creating modes of the natural minor scale because they already are contained within the modes of the major scale. You get to leverage your previous knowledge of the Major scale and it's modes. For easy reference the harmonic sequence for Natural minor is shown again below.
[insert image] Diatonic 7th chords in Natural Minor I II III IV V VI VII mi7 m7b5 ma7 mi7 mi7 ma7 7
The 7th chord harmonic systems for Harmonic and Melodic minor are a little different. Shown below is the 7th chord harmonic system for Harmonic minor.
Diatonic 7th chords in HARMONIC MINOR I II III IV V VI VII mi#7 m7b5 ma7#5 mi7 7 ma7 o7 [insert image]
Notice the different chord structures at I and III. The tonic mi#7 chord (sometimes called miMa7) is a minor triad with an added tone a major 7th interval from the root. In some keys the "#7" is not a "sharp" but instead a "natural" in a context that contains many flats. The mediant ma7#5 chord is an augmented triad with a major 7th from the root added to completed the chord. As before, in some keys the "#5" is not a "sharp" but instead a "natural" in a context that contains many flats. It is useful to think of the "#" symbol in this context as meaning "raised one half step" instead of literally meaning a sharp.
Here are the corresponding chord voicing for these new 7th chord types.
MiMa7 (mi#7) ___________ ___________ ___________ ___________ |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |(o)|_|_|_| |_|(o)|_|_| (o)|_|_o_o_| |(o)|_|_|_o |_|_|_o_o_| |_|_|_|_|_o |_|_o_|_|_| |_|_|_o_o_| |_|_o_|_|_| |_|_|_o_o_| |_|_|_|_|_| |_|_|_|_|_| R 5 7 3 R 5 7 3 R 7 3 5 R 7 3 5 [insert image] Ma7#5 ___________ ___________ ___________ ___________ |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |_|_|_|_|_| |(o)|_|_|_| |_|(o)|_|_| (o)|_|_|_|_| |(o)|_|_|_| |_|_|_o_|_| |_|_|_|_|_| |_|_o_o_o_| |_|_|_o_|_o |_|_|_|_o_| |_|_|_|_o_o |_|_|_|_|_| |_|_|_|_o_| |_|_o_|_|_| |_|_|_o_|_| |_|_|_|_|_| |_|_|_|_|_| R 5 7 3 R 5 7 3 R 7 3 5 R 7 3 5 [insert image]
It is possible to create modes of the Harmonic minor scale and harmonic systems from those modes. See the appendix for examples.
Diatonic 7th chords in MELODIC MINOR I II III IV V VI VII mi#7 mi7 ma7#5 7 7 m7b5 m7b5 [insert image]
It is possible to create modes of the Melodic minor scale and harmonic systems from those modes. See the appendix for examples.
A common chord progression is the II-V-I progression. This can occur in either major or minor keys and some compositions use nothing but this chord progression. When using 7th chords as the harmonic structure the progression is shown in a generic formula.
IIm7 - V7 - Ima7
example: Dm7 G7 Cma7
[insert image]
The are two important factors:
The harmonic quality of the chords in a II V I progression in major is also predictable: When using 7th chords using notes from the MAJOR SCALE, the II chord is always m7, the V chord is alway 7 (dom7), and the I chord is always ma7. You should memorize both these essential musical truths regarding II V I progressions in major. Let me repeat that for anyone who aspires to improvise in the jazz standards style.
When using 7th chords in MAJOR, the II chord is always m7, the V chord is alway 7 (dom7), and the I chord is always ma7.
You need to absorb this fundamental truth, just as you need to become confident about recognizing the harmonic patterns used in both major and minor keys. The foundation is here in the II-V-I progression.
When you navigate your way through the II-V-I progression you will notice that there are common tones between each chord change. The II chord and V chord contain two common tones. Likewise the V chord and the I chord have two common tones (assuming all are 7th chords).
. [insert graphic]
The minor key presents more options and it is difficult to choose a single generic form. For example the tonic (I) chord is sometimes mi7 quality and sometimes mi#7 quality. The root movement is the same as major but the harmonic quality of the progression is more varied and for that reason some feel it provides more interesting options.
IIm7b5 - V7 - Im7 or IIm7b5 - V7 - Im#7
example: Dm7b5 G7 Cm7 Dm7b5 G7 Cm#7
[insert image]
Other variations include:
Additional changes to these basic progressions is the subject of future lectures. The mutations of the V chord is of special interest and it provides some of the interesting tension found in jazz music. However at this point it is important to recognize a basic II V I when it's staring you in the face.
Analyze the following chord progression. I sometimes use this (or an extension of this formula) as a basis for scale and chord exercises
|| | | | | ||: Dm7 G7 | Cma7 | Bm7b5 E7 | Am#7 | || | | | | | | | | || | Gm7 C7 | Fma7 | Em7b5 A7 | Dm6 :|| | | | | || [insert MIDI link] The next progression is from the first section of a tune named "Afternoon in Paris" by John Lewis || | | | | ||: Cma7 | Cm7 F7 | Bbma7 | Bbm7 Eb7 | || | | | | | | | | || | Abma7 | Dm7 G7 | Cma7 | ( Dm7 G7 ) :|| | | | | || [insert MIDI link]
Here's an analysis of the chord progressions. The first exercise is made up of II V I progressions in different but related keys.
C: II V I Am: II V I || | | | | ||: Dm7 G7 | Cma7 | Bm7b5 E7 | Am#7 | || | | | | F: II V I Dm: II V I | | | | || | Gm7 C7 | Fma7 | Em7b5 A7 | Dm6 :|| | | | | ||
---------------
Afternoon in Paris is also based entirely on II V I progressions that cascade through the keys of C, Bb and Ab.
"Afternoon in Paris" by John Lewis C: I Bb: II V I Ab: II V || | | | | ||: Cma7 | Cm7 F7 | Bbma7 | Bbm7 Eb7 | || | | | | (Ab) I C: II V I II V | | | | || | Abma7 | Dm7 G7 | Cma7 | ( Dm7 G7 ) :|| | | | | ||
The II-V-I progression is very common to jazz standards, bebop, and much of pop music but some other musical styles don't use it very much if at all. One additional value of learning to aurally recognize II-V-I is noticing when it isn't used. Many contempory Rock, and Hip-Hop songs don't use it at all. But II-V-I's still show up in the ballads in most any style.
end of document