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Difference between revisions of "7th Chords"

m (→‎Dominant Seventh)
m (→‎Why/When 7ths?)
 
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{{Top-Level Crumbs|1}}
 
{{Top-Level Crumbs|1}}
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+
{{Lesson Crumbs|2}}
 
{{Intermediate Lesson Crumbs|13}}
 
{{Intermediate Lesson Crumbs|13}}
  
−
''Seventh Chords'' extend our basic Root-3rd-5th triad chords by adding a 7th (R-3-5-7).  This extra note adds an additional degree of harmonic complexity to chords.  They can be used to strenghthen or weaken the resolve of cadences, as well as simply making things more interesting.  It gives us a much greater variety of chords to choose from.
+
'''Seventh chords''' extend our basic Root-3rd-5th triad chords by adding a 7th (R-3-5-7).  This extra note adds an additional degree of harmonic complexity to chords.  They can be used to strenghthen or weaken the resolve of cadences, as well as simply making things more interesting.  It gives us a much greater variety of chords to choose from.
  
 
== PreReqs ==
 
== PreReqs ==
  
−
= Varieties of 7th Chords =
+
== Varieties of 7th Chords ==
 +
{{Crumbs|blue|1
 +
|7th Chords#Varieties of 7th Chords|Varieties
 +
|7th Chords#Common Open Position Voicings|Open Pos. Voicings
 +
|7th Chords#Diatonic Chords|Diatonic Chords
 +
|7th Chords#Why/When 7ths?|Why/When 7ths?
 +
}}
 +
 
 +
=== Dominant Seventh ===
 +
{{Crumbs|blue2|1
 +
|7th Chords#Dominant Seventh|Dominant
 +
|7th Chords#Major Seventh|Major
 +
|7th Chords#Minor Seventh|Minor
 +
|7th Chords#Half Diminished|Half Diminished
 +
|7th Chords#Fully Diminished|Fully Diminished
 +
|7th Chords#Minor/Major Seventh|Minor/Major
 +
|7th Chords#Augmented Seventh|Augmented
 +
}}
  
−
== Dominant Seventh ==
 
 
{|class="wikitable"
 
{|class="wikitable"
−
! Member Notes !! Spelling !! Ex.
+
! Member Notes !! Spelling !! Example
 
|-
 
|-
 
| (R M3 P5 m7) || R{{7}} (R = Root Note) || G{{7}}, (G B D A)
 
| (R M3 P5 m7) || R{{7}} (R = Root Note) || G{{7}}, (G B D A)
 
|}
 
|}
  
−
The ''Dominant Seventh'' is the most common 7th chord.  It is the dominant 7th (V{{7}}) chord of the Major and Harmonic Minor scales.  The m7 in the chord above the major triad enhances the tension of the dominant chord and its resolution to tonic.  It contains the following intervals:
+
The '''dominant seventh''' is the most common 7th chord.  It is the dominant 7th (V{{7}}) chord of the Major and Harmonic Minor scales.  The m7 in the chord above the major triad enhances the tension of the dominant chord and its resolution to tonic.  It contains the following intervals:
  
 
  R    M3    P5    m7
 
  R    M3    P5    m7
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  '''R''' |i|-|-|
 
  '''R''' |i|-|-|
 
  ''' ''' |-|-|-|
 
  ''' ''' |-|-|-|
 +
|}
 +
{|
 
|
 
|
 
  ''' ''' |-|-|-|
 
  ''' ''' |-|-|-|
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{|
 
{|
 
|+ Open Position Fingering Charts
 
|+ Open Position Fingering Charts
−
! E{{7}} !! E{{7}} !! G{{7}} !! A{{7}} !! C{{7}} !! D{{7}}
+
! E{{7}} !! E{{7}} !! G{{7}} !! A{{7}}
 
|-
 
|-
 
|
 
|
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  '''R''' o|-|-|
 
  '''R''' o|-|-|
 
  ''' ''' ||-|-|
 
  ''' ''' ||-|-|
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|}
 +
{|
 +
! C{{7}} !! D{{7}}
 +
|-
 
|
 
|
 
  '''3''' o|-|-|-|
 
  '''3''' o|-|-|-|
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|}
 
|}
  
−
== Major Seventh ==
+
{{top}}
 +
 
 +
=== Major Seventh ===
 +
{{Crumbs|blue2|2
 +
|7th Chords#Dominant Seventh|Dominant
 +
|7th Chords#Major Seventh|Major
 +
|7th Chords#Minor Seventh|Minor
 +
|7th Chords#Half Diminished|Half Diminished
 +
|7th Chords#Fully Diminished|Fully Diminished
 +
|7th Chords#Minor/Major Seventh|Minor/Major
 +
|7th Chords#Augmented Seventh|Augmented
 +
}}
 +
 
 
{|class="wikitable"
 
{|class="wikitable"
−
! Member Notes !! Spelling !! Ex.
+
! Member Notes !! Spelling !! Example
 
|-
 
|-
−
| (R M3 P5 M7) || R{{maj}}{{7}} (R = Root Note) ''or'' R maj{{7}} || C{{maj}}{{7}}, (C E G B) ''or'' C maj{{7}}
+
| (R M3 P5 M7) || R{{maj}}{{7}} (R = Root Note) or R maj{{7}} || C{{maj}}{{7}}, (C E G B) or  C maj{{7}}
 
|}
 
|}
  
−
The ''Major Seventh'' is a fairly common 7th chord (also sometimes written as {{maj}}{{7}}).  It appears as on the I and IV chords diatonic to the major keys.  The M7 typically needs some space to prevent it from sounding overly dissonant.  If the octave is stacked on top the M7, you get the inversion of the M7, the m2 interval, which is very dissonant.  Overall, I find this chord sounds quite peaceful; however, it still has a bit of tension.  This makes it work great for jazz or if you want to use the tonic without feeling fully resolved.  It contains the following intervals:
+
The '''major seventh''' is a fairly common 7th chord (also sometimes written as {{maj}}{{7}}).  It appears as on the I and IV chords diatonic to the major keys.  The M7 typically needs some space to prevent it from sounding overly dissonant.  If the octave is stacked on top the M7, you get the inversion of the M7, the m2 interval, which is very dissonant.  Overall, I find this chord sounds quite peaceful; however, it still has a bit of tension.  This makes it work great for jazz or if you want to use the tonic without feeling fully resolved.  It contains the following intervals:
  
 
  R    M3    P5    M7
 
  R    M3    P5    M7
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|}
 
|}
  
−
== Minor Seventh ==
+
{{top}}
 +
 
 +
=== Minor Seventh ===
 +
{{Crumbs|blue2|3
 +
|7th Chords#Dominant Seventh|Dominant
 +
|7th Chords#Major Seventh|Major
 +
|7th Chords#Minor Seventh|Minor
 +
|7th Chords#Half Diminished|Half Diminished
 +
|7th Chords#Fully Diminished|Fully Diminished
 +
|7th Chords#Minor/Major Seventh|Minor/Major
 +
|7th Chords#Augmented Seventh|Augmented
 +
}}
 +
 
 
{|class="wikitable"
 
{|class="wikitable"
−
! Member Notes !! Spelling !! Ex.
+
! Member Notes !! Spelling !! Example
 
|-
 
|-
 
| (R m3 P5 m7) || Rm{{7}} (R = Root Note) || Dm{{7}}, (D F A C)
 
| (R m3 P5 m7) || Rm{{7}} (R = Root Note) || Dm{{7}}, (D F A C)
 
|}
 
|}
 +
 +
The '''minor seventh''' is a very common 7th chord.  It appears as the ii{{7}}, iii{{7}}, and vi{{7}} in major keys; i{{7}}, iv{{7}}, and v{{7}} in natural minor; and iv{{7}} in harmonic minor.
  
 
  R    m3    P5    m7
 
  R    m3    P5    m7
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|}
 
|}
  
−
== Minor/Major Seventh ==
+
{{top}}
−
{|class="wikitable"
 
−
! Member Notes !! Spelling !! Ex.
 
−
|-
 
−
| (R m3 P5 M7) || Rm{{maj}}{{7}} (R = Root Note) ''or'' Rm maj{{7}} || Dm{{maj}}{{7}}, (D F A C{{s}}) ''or'' Dm maj{{7}}
 
−
|}
 
−
 
 
−
R    m3    P5    M7
 
−
  -m3-  -M3-  '''-M3-'''
 
−
  ----P5---- 
 
−
        '''----a5----'''
 
−
  '''-------M7-------'''
 
  
−
If you remove the root from this chord, you are left with an augmented triad.  You can hear it inside this chord - it sounds unsettling, but it also sounds lost like there is no chord that can easily resolve it, other than to treat the M7 like a suspension and resolve it down to a m7, giving you a Minor 7th Chord.  I like arpeggiating this chord.  It's more stable (clearer root/tonality) than a simple augmented or diminished chord, but it shares their open-ended mysterious tone.
+
=== Half Diminished ===
 +
{{Crumbs|blue2|4
 +
|7th Chords#Dominant Seventh|Dominant
 +
|7th Chords#Major Seventh|Major
 +
|7th Chords#Minor Seventh|Minor
 +
|7th Chords#Half Diminished|Half Diminished
 +
|7th Chords#Fully Diminished|Fully Diminished
 +
|7th Chords#Minor/Major Seventh|Minor/Major
 +
|7th Chords#Augmented Seventh|Augmented
 +
}}
  
−
{|
 
−
|+ Fingering Charts
 
−
|
 
−
''' ''' |-|-|-|
 
−
'''5''' |i|-|-|
 
−
'''3''' |i|-|-|
 
−
'''7''' |)|m|-|
 
−
'''5''' |)|-|r|
 
−
'''R''' |i|-|-|
 
−
|
 
−
'''5''' |i|-|-|
 
−
'''3''' |)|r|-|
 
−
'''7''' |)|m|-|
 
−
'''5''' |)|-|p|
 
−
'''R''' |i|-|-|
 
−
''' ''' |-|-|-|
 
−
|
 
−
''' ''' |-|-|-|-|
 
−
'''R''' |i|-|-|-|
 
−
'''7''' |)|-|-|p|
 
−
'''3''' |i|-|-|-|
 
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'''R''' |-|-|r|-|
 
−
''' ''' |-|-|-|-|
 
−
|
 
−
'''3''' |-|m|-|
 
−
'''7''' |-|-|p|
 
−
'''5''' |-|-|r|
 
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'''R''' |i|-|-|
 
−
''' ''' |-|-|-|
 
−
''' ''' |-|-|-|
 
−
|
 
−
'''7''' |i|-|-|-|
 
−
'''5''' |-|r|-|-|
 
−
'''3''' |-|m|-|-|
 
−
'''R''' |-|-|-|p|
 
−
''' ''' |-|-|-|-|
 
−
''' ''' |-|-|-|-|
 
−
|}
 
−
 
−
== Half Diminished ==
 
 
{|class="wikitable"
 
{|class="wikitable"
−
! Member Notes !! Spelling !! Ex.
+
! Member Notes !! Spelling !! Example
 
|-
 
|-
−
| (R m3 d5 m7) || R{{hdim7}} (R = Root Note) || B{{hdim7}}, (B D F A)
+
| (R m3 d5 m7) || R{{hdim}}{{7}} (R = Root Note) || B{{hdim}}{{7}}, (B D F A)
 
|}
 
|}
 +
 +
The '''half diminished seventh''' chord adds a m7 above root to a diminished triad.  This is usually the diatonic 7th for diminished chords, appearing as vii{{hdim}}{{7}} in major and ii{{hdim}}{{7}} in minor keys.
  
 
  R    m3    d5    m7
 
  R    m3    d5    m7
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   '''-------m7-------'''
 
   '''-------m7-------'''
  
−
The 7th here adds M3, P5, and m7 intervals to the chord, improving its consonance.  I find the half-dimisished chords are also easier to finger and allow more strings to ring out than the diminished triad shapes.
+
The 7th here adds M3, P5, and m7 intervals to the chord, improving its consonance.  I find the half-dimisished chords are also easier to finger and allow more strings to ring out than the diminished triad shapes.  I recommend using this chord in place of diminished triads where possible.
  
 
{|
 
{|
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|}
 
|}
  
−
== Fully Diminished ==
+
{|
−
The fully diminished chord is quite rare for diatonic chord progressions; however, it is very handy for modulating between keys.  It serves as a pivot chord between basically any 2 keys.  It is also useful to enter an atonal feel, where chromatic or octatonic scales can play over the chord.
+
|+ Open Position Fingering Charts
 +
|-
 +
! F{{s}}{{hdim}}{{7}} !! F{{hdim}}{{7}} !! B{{hdim}}{{7}}
 +
|-
 +
|
 +
''' ''' ||-|-|-|-|
 +
'''5''' ||i|-|-|-|
 +
'''3''' ||-|p|-|-|
 +
'''7''' ||-|r|-|-|
 +
'''3''' o|-|-|-|-|
 +
'''R''' ||-|m|-|-|
 +
|
 +
''' ''' ||-|-|-|
 +
'''5''' o|-|-|-|
 +
'''3''' ||r|-|-|
 +
'''7''' ||m|-|-|
 +
'''5''' ||-|p|-|
 +
'''R''' ||i|-|-|
 +
|
 +
'''5''' ||i|-|-|-|
 +
'''R''' o|-|-|-|-|
 +
'''7''' ||-|r|-|-|
 +
'''3''' o|-|-|-|-|
 +
'''R''' ||-|m|-|-|
 +
''' ''' ||-|-|-|-|
 +
|}
 +
 
 +
{{top}}
 +
 
 +
=== Fully Diminished ===
 +
{{Crumbs|blue2|5
 +
|7th Chords#Dominant Seventh|Dominant
 +
|7th Chords#Major Seventh|Major
 +
|7th Chords#Minor Seventh|Minor
 +
|7th Chords#Half Diminished|Half Diminished
 +
|7th Chords#Fully Diminished|Fully Diminished
 +
|7th Chords#Minor/Major Seventh|Minor/Major
 +
|7th Chords#Augmented Seventh|Augmented
 +
}}
  
 
{|class="wikitable"
 
{|class="wikitable"
−
! Member Notes !! Spelling !! Ex.
+
! Member Notes !! Spelling !! Example
 
|-
 
|-
 
| (R m3 d5 d7) || R{{dim}}{{7}} (R = Root Note) || B{{dim}}{{7}}, (B D F A{{f}})
 
| (R m3 d5 d7) || R{{dim}}{{7}} (R = Root Note) || B{{dim}}{{7}}, (B D F A{{f}})
 
|}
 
|}
 +
 +
The '''fully diminished seventh chord''' is quite rare for diatonic chord progressions; however, it is very handy for [[Modulation|modulating]] between keys.  It serves as a pivot chord between basically any 2 keys.  It is also useful to enter an atonal feel, where chromatic or octatonic scales can play over the chord.  It is the diatonic vii{{dim}}{{7}} of harmonic minor.
  
 
  R    m3    d5    d7
 
  R    m3    d5    d7
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|}
 
|}
  
−
== Augmented Seventh ==
+
{{top}}
 +
 
 +
=== Minor/Major Seventh ===
 +
{{Crumbs|blue2|6
 +
|7th Chords#Dominant Seventh|Dominant
 +
|7th Chords#Major Seventh|Major
 +
|7th Chords#Minor Seventh|Minor
 +
|7th Chords#Half Diminished|Half Diminished
 +
|7th Chords#Fully Diminished|Fully Diminished
 +
|7th Chords#Minor/Major Seventh|Minor/Major
 +
|7th Chords#Augmented Seventh|Augmented
 +
}}
 +
 
 +
{|class="wikitable"
 +
! Member Notes !! Spelling !! Example
 +
|-
 +
| (R m3 P5 M7) || Rm{{maj}}{{7}} (R = Root Note) ''or'' Rm maj{{7}} || Dm{{maj}}{{7}}, (D F A C{{s}}) ''or'' Dm maj{{7}}
 +
|}
 +
 
 +
The '''minor/major seventh''' chord is a particularly rare chord.  It is the diatonic i{{7}} chord of harmonic minor.
 +
 
 +
R    m3    P5    M7
 +
  -m3-  -M3-  '''-M3-'''
 +
  ----P5---- 
 +
        '''----a5----'''
 +
  '''-------M7-------'''
 +
 
 +
If you remove the root from this chord, you are left with an augmented triad.  You can hear it inside this chord - it sounds unsettling, but it also sounds lost like there is no chord that can easily resolve it, other than to treat the M7 like a suspension and resolve it down to a m7, giving you a Minor 7th Chord.  I like arpeggiating this chord.  It's more stable (clearer root/tonality) than a simple augmented or diminished chord, but it shares their open-ended mysterious tone.
 +
 
 +
{|
 +
|+ Fingering Charts
 +
|
 +
''' ''' |-|-|-|
 +
'''5''' |i|-|-|
 +
'''3''' |i|-|-|
 +
'''7''' |)|m|-|
 +
'''5''' |)|-|r|
 +
'''R''' |i|-|-|
 +
|
 +
'''5''' |i|-|-|
 +
'''3''' |)|r|-|
 +
'''7''' |)|m|-|
 +
'''5''' |)|-|p|
 +
'''R''' |i|-|-|
 +
''' ''' |-|-|-|
 +
|
 +
''' ''' |-|-|-|-|
 +
'''R''' |i|-|-|-|
 +
'''7''' |)|-|-|p|
 +
'''3''' |i|-|-|-|
 +
'''R''' |-|-|r|-|
 +
''' ''' |-|-|-|-|
 +
|
 +
'''3''' |-|m|-|
 +
'''7''' |-|-|p|
 +
'''5''' |-|-|r|
 +
'''R''' |i|-|-|
 +
''' ''' |-|-|-|
 +
''' ''' |-|-|-|
 +
|
 +
'''7''' |i|-|-|-|
 +
'''5''' |-|r|-|-|
 +
'''3''' |-|m|-|-|
 +
'''R''' |-|-|-|p|
 +
''' ''' |-|-|-|-|
 +
''' ''' |-|-|-|-|
 +
|}
 +
 
 +
{{top}}
 +
 
 +
=== Augmented Seventh ===
 +
{{Crumbs|blue2|7
 +
|7th Chords#Dominant Seventh|Dominant
 +
|7th Chords#Major Seventh|Major
 +
|7th Chords#Minor Seventh|Minor
 +
|7th Chords#Half Diminished|Half Diminished
 +
|7th Chords#Fully Diminished|Fully Diminished
 +
|7th Chords#Minor/Major Seventh|Minor/Major
 +
|7th Chords#Augmented Seventh|Augmented
 +
}}
 +
 
 
{|class="wikitable"
 
{|class="wikitable"
−
! Member Notes !! Spelling !! Ex.
+
! Member Notes !! Spelling !! Example
 
|-
 
|-
 
| (R M3 a5 M7) || R+{{7}} (R = Root Note) || C+{{7}}, (C E G{{s}} B)
 
| (R M3 a5 M7) || R+{{7}} (R = Root Note) || C+{{7}}, (C E G{{s}} B)
 
|}
 
|}
  
−
I honestly didn't even think about this chord until looking at the diatonic 7th chords for harmonic minor.  This is the III+7 chord.
+
The '''augmented seventh chord''' adds a M7 to an augmented triad.  I honestly didn't even think about this chord until looking at the diatonic 7th chords for harmonic minor.  This is its III+7 chord.
  
 
  R    M3    a5    M7
 
  R    M3    a5    M7
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   '''-------M7-------'''
 
   '''-------M7-------'''
  
−
Similar to how the added m7 helps stabilize the Half Diminished 7th Chord, the added M7 here adds m3, P5, and m7 intervals, helping to stabilize the chord.  The 3rd, 5th, and 7th of the chord compose a major triad.  This lightens the dissonance of the (R 3 5) augmented triad.
+
Similar to how the added m7 helps stabilize the half diminished 7th chord, the added M7 here adds m3, P5, and m7 intervals, helping to stabilize the chord.  The 3rd, 5th, and 7th of the chord compose a major triad.  This lightens the dissonance of the (R 3 5) augmented triad.
  
 
{|
 
{|
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|}
 
|}
  
−
= Common Open Position Voicings =
+
{{top}}
 +
 
 +
== Common Open Position Voicings ==
 +
{{Crumbs|blue|2
 +
|7th Chords#Varieties of 7th Chords|Varieties
 +
|7th Chords#Common Open Position Voicings|Open Pos. Voicings
 +
|7th Chords#Diatonic Chords|Diatonic Chords
 +
|7th Chords#Why/When 7ths?|Why/When 7ths?
 +
}}
 +
 
 +
 
 
{|
 
{|
−
! A{{7}} !! Am{{7}} !! B{{7}} !! Bm{{7}}
 
 
|-
 
|-
 
|
 
|
 +
A{{7}}<br>
 
<pre>
 
<pre>
 
||-|-|r|-|
 
||-|-|r|-|
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</pre>
 
</pre>
 
|
 
|
 +
Am{{7}}<br>
 
<pre>
 
<pre>
 
||-|-|p|-|
 
||-|-|p|-|
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</pre>
 
</pre>
 
|
 
|
 +
B{{7}}<br>
 
<pre>
 
<pre>
 
||-|p|-|-|
 
||-|p|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
Bm{{7}}<br>
 
<pre>
 
<pre>
 
||-|p|-|-|
 
||-|p|-|-|
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||-|-|-|-|
 
||-|-|-|-|
 
</pre>
 
</pre>
−
|}
 
−
 
−
{|
 
−
! B{{hdim7}} !! B{{fdim7}} !! C{{7}} !! C{{maj}}{{7}}
 
−
|-
 
 
|
 
|
 +
B{{hdim7}}<br>
 
<pre>
 
<pre>
−
||-|-|-|-|
+
||i|-|-|-|
−
||-|-|p|-|
+
o|-|-|-|-|
 +
||-|r|-|-|
 +
o|-|-|-|-|
 
||-|m|-|-|
 
||-|m|-|-|
−
||-|-|r|-|
 
−
||-|i|-|-|
 
 
||-|-|-|-|
 
||-|-|-|-|
 
</pre>
 
</pre>
 
|
 
|
 +
B{{fdim7}}<br>
 
<pre>
 
<pre>
 
||-|-|-|-|
 
||-|-|-|-|
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||-|-|-|-|
 
||-|-|-|-|
 
</pre>
 
</pre>
 +
|-
 
|
 
|
 +
C{{7}}<br>
 
<pre>
 
<pre>
 
o|-|-|-|-|
 
o|-|-|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
C{{maj}}{{7}}<br>
 
<pre>
 
<pre>
 
o|-|-|-|-|
 
o|-|-|-|-|
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||-|-|-|-|
 
||-|-|-|-|
 
</pre>
 
</pre>
−
|}
 
−
 
−
{|
 
−
! D{{7}} !! Dm{{7}} !! D{{maj}}{{7}} !! D+{{7}}
 
−
|-
 
 
|
 
|
 +
D{{7}}<br>
 
<pre>
 
<pre>
 
||-|r|-|-|
 
||-|r|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
Dm{{7}}<br>
 
<pre>
 
<pre>
 
||i|-|-|-|
 
||i|-|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
D{{maj}}{{7}}<br>
 
<pre>
 
<pre>
 
||-|i|-|-|
 
||-|i|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
D+{{7}}<br>
 
<pre>
 
<pre>
 
||-|i|-|-|
 
||-|i|-|-|
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||-|-|-|-|
 
||-|-|-|-|
 
</pre>
 
</pre>
−
|}
 
−
 
−
{|
 
−
! E{{7}} !! Em{{7}} !! E{{maj}}{{7}} !! E{{hdim7}}
 
 
|-
 
|-
 
|
 
|
 +
E{{7}}<br>
 
<pre>
 
<pre>
 
o|-|-|-|-|
 
o|-|-|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
Em{{7}}<br>
 
<pre>
 
<pre>
 
o|-|-|-|-|
 
o|-|-|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
E{{maj}}{{7}}<br>
 
<pre>
 
<pre>
 
o|-|-|-|-|
 
o|-|-|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
E{{hdim7}}<br>
 
<pre>
 
<pre>
 
o|-|-|-|-|
 
o|-|-|-|-|
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o|-|-|-|-|
 
o|-|-|-|-|
 
</pre>
 
</pre>
−
|}
 
−
 
−
{|
 
−
! F{{maj}}{{7}} !! G{{7}} !! G{{maj}}{{7}}
 
−
|-
 
 
|
 
|
 +
F{{maj}}{{7}}<br>
 
<pre>
 
<pre>
 
o|-|-|-|-|
 
o|-|-|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
F{{maj}}{{7}}<br>
 +
<pre>
 +
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 +
x|-|-|-|-|
 +
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 +
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 +
||i|-|-|-|
 +
</pre>
 +
|-
 +
|
 +
F{{hdim}}{{7}}<br>
 +
<pre>
 +
||-|-|-|-|
 +
o|-|-|-|-|
 +
||r|-|-|-|
 +
||m|-|-|-|
 +
||-|p|-|-|
 +
||i|-|-|-|
 +
</pre>
 +
|
 +
F{{s}}{{hdim}}{{7}}<br>
 +
<pre>
 +
||-|-|-|-|
 +
||i|-|-|-|
 +
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 +
||-|r|-|-|
 +
o|-|-|-|-|
 +
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</pre>
 +
|
 +
G{{7}}<br>
 
<pre>
 
<pre>
 
||i|-|-|-|
 
||i|-|-|-|
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</pre>
 
</pre>
 
|
 
|
 +
G{{7}}<br>
 +
<pre>
 +
||-|-|p|-|
 +
o|-|-|-|-|
 +
o|-|-|-|-|
 +
||-|-|r|-|
 +
||-|i|-|-|
 +
||-|-|m|-|
 +
</pre>
 +
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 +
G{{maj}}{{7}}<br>
 
<pre>
 
<pre>
 
||-|i|-|-|
 
||-|i|-|-|
Line 732: Line 911:
 
|}
 
|}
  
−
= Diatonic Chords =
+
{{top}}
−
Only Dominant 7ths, Minor 7ths, Major 7ths, and Half-Diminished 7ths are diatonic to the major and natural minor scales.
+
 
 +
== Diatonic Chords ==
 +
{{Crumbs|blue|3
 +
|7th Chords#Varieties of 7th Chords|Varieties
 +
|7th Chords#Common Open Position Voicings|Open Pos. Voicings
 +
|7th Chords#Diatonic Chords|Diatonic Chords
 +
|7th Chords#Why/When 7ths?|Why/When 7ths?
 +
}}
 +
 
 +
Only dominant 7ths, minor 7ths, major 7ths, and half diminished 7ths are diatonic to the major and natural minor scales.
  
 
{|class="wikitable"
 
{|class="wikitable"
Line 753: Line 941:
 
|}  
 
|}  
  
−
Harmonic Minor uses those but additionally adds an Augmented 7th, a Minor/Major 7th, and a Fully Diminished 7th.  Every chord is a unique variation.
+
Harmonic Minor uses those but additionally adds an augmented 7th, a minor/major 7th, and a fully diminished 7th.  Every chord is a unique variation.
  
 
{|class="wikitable"
 
{|class="wikitable"
Line 764: Line 952:
 
|}  
 
|}  
  
−
The Fully Diminished 7th is also diatonic to the [[Exotic Scales|octatonic diminished scales (Whole-Half and Half-Whole)]].
+
The fully diminished 7th is also diatonic to the [[Exotic Scales|octatonic diminished scales (Whole-Half and Half-Whole)]].
 +
 
 +
=== Sample Progressions ===
 +
 
  
−
== Sample Progressions ==
+
{{top}}
 +
 
 +
== Why/When 7ths? ==
 +
{{Crumbs|blue|4
 +
|7th Chords#Varieties of 7th Chords|Varieties
 +
|7th Chords#Common Open Position Voicings|Open Pos. Voicings
 +
|7th Chords#Diatonic Chords|Diatonic Chords
 +
|7th Chords#Why/When 7ths?|Why/When 7ths?
 +
}}
  
−
= Why/When 7ths? =
 
 
In general, 7ths can be used to get a more complex sound than a basic triad.  Added on top of major/minor triads typically makes them feel less resolved.  This is particularly handy for the Dominant 7th, as the dominant (V) chord is generally desired to feel tense, seeking resolution to the tonic (I or i).  Adding a 7th to the tonic triad weakens its sense of resolution; however, it still serves as tonic and is the guiding beacon for the harmony.  The tonic 7th can give a feeling of incomplete resolution, making the music feel more relaxed and flowing than seeking completion.
 
In general, 7ths can be used to get a more complex sound than a basic triad.  Added on top of major/minor triads typically makes them feel less resolved.  This is particularly handy for the Dominant 7th, as the dominant (V) chord is generally desired to feel tense, seeking resolution to the tonic (I or i).  Adding a 7th to the tonic triad weakens its sense of resolution; however, it still serves as tonic and is the guiding beacon for the harmony.  The tonic 7th can give a feeling of incomplete resolution, making the music feel more relaxed and flowing than seeking completion.
  
−
''The most common use of 7th chords comes in the form of V{{7}} - I (or i) progressions.''
+
''The most common use of 7th chords comes in the form of'' V{{7}} - I (or V{{7}} - i) ''progressions.''
  
−
As noted for the Augmented 7th and Half Diminished 7th Chords, the 7th helps add consonance and lightens the feel of the basic triad, while adding a richer harmony to it and making it feel more complex. I recommend always using the Half Diminished 7th over the triad when diatonic to the current key, especially as the vii{{hdim7}} chord of a Major key.
+
As noted for the augmented 7th and half diminished 7th Chords, the 7th helps add consonance and lightens the feel of the basic triad, while adding a richer harmony to it and making it feel more complExample I recommend always using the half diminished 7th over the triad when diatonic to the current key, especially as the vii{{hdim}}{{7}} chord of a major key.
  
 
Sevenths can also be desirable for voice leading purposes.  Or it may simply be implied by a melody line.
 
Sevenths can also be desirable for voice leading purposes.  Or it may simply be implied by a melody line.
  
−
Fully Diminished and Minor/Major 7th Chords are particularly dissonant and create a particularly unresolved feeling.  The Fully Diminished Chord can also be used to signal an atonal feel.
+
Fully diminished and minor/major 7th chords are particularly dissonant and create a particularly unresolved feeling.  The fully diminished 7th chord can also be used to signal an atonal feel.
 +
 
 +
{{top}}
 +
 
 +
== Homework ==
 +
* Learn the different varieties of 7th chords, in terms of their names and the intervals against the root note.
 +
* Learn at least 1 barre chord shape for each variety of 7th chord
 +
* Learn all the diatonic 7th chords for C Major/A Natural Minor in open position.
 +
* Learn all the diatonic 7th chords for A Harmonic Minor in open position.
 +
* Learn several chords that are non-diatonic are non-diatonic to C Major/A Minor in open position.
 +
* Know that the V{{7}}-I or V{{7}}-i is possibly the strongest harmonic resolution possible in Western music.
 +
* Play the sample progressions above.
 +
* Play progressions from previous lessons, particularly the circle progression, substituting in 7th chords.  Get a feel for when 7th chords are appropriate and when they are not, based on the harmonic function of the chord as well as the style of music.
 +
* Create your own progressions, substituting in diatonic 7th chords.
  
−
= Homework =
 
  
−
= Q & A =
+
{{loud|Congratulations!  You are ready to move on to [[Contents#Advanced Lessons|the advanced lessons]].}}
  
−
= Related Lessons =
+
== Q & A ==
  
 +
== Related Lessons ==
 +
* [[C Major Chord]]
 +
* [[E Minor, D Minor, and A Minor Chords]]
 +
* [[Music Theory - Diatonic Chord Progressions]]
 +
* [[B Diminished]]
 +
* [[Music Theory - Minor Keys]]
 +
* [[Harmonic Minor and Augmented Chords]]
 +
* [[Extended Chords]]
  
−
<div class="item-wrap">
+
{{top}}
−
<div class="trail blue">
+
 
−
<span class="text">[[B Diminished|B dim]]</span>
+
{{Intermediate Lesson Crumbs|13}}
−
<span class="text">[[Other Open String Chords|Open Chords]]</span>
 
−
<span class="text">[[Music Theory - Minor Keys|Minor Keys]]</span>
 
−
<span class="text">[[Harmonic Minor and Augmented Chords|Harmonic Min]]</span>
 
−
<span class="text">[[Barre Chords|Barre Chords]]</span>
 
−
<span class="text">[[Suspended Chords|Sus Chords]]</span>
 
−
<span class="text">[[Applying Rhythm to Chords|Rhythm]]</span>
 
−
<span class="text">[[Circle of Fifths|Circle of 5ths]]</span>
 
−
<span class="text">[[G Major and E Minor|G Maj and E Min]]</span>
 
−
<span class="text">[[5th Position|5th Pos]]</span>
 
−
<span class="text">[[Scales for all Positions|All Pos]]</span>
 
−
<span class="text">[[CAGED]]</span>
 
−
<span class="text current">[[7th Chords]]</span>
 
−
</div>
 
−
</div>
 
  
 
[[Category:Guitar]]
 
[[Category:Guitar]]

Latest revision as of 23:36, 8 November 2015

Seventh chords extend our basic Root-3rd-5th triad chords by adding a 7th (R-3-5-7). This extra note adds an additional degree of harmonic complexity to chords. They can be used to strenghthen or weaken the resolve of cadences, as well as simply making things more interesting. It gives us a much greater variety of chords to choose from.

Contents

PreReqs

Varieties of 7th Chords

Dominant Seventh

Member Notes Spelling Example
(R M3 P5 m7) R7 (R = Root Note) G7, (G B D A)

The dominant seventh is the most common 7th chord. It is the dominant 7th (V7) chord of the Major and Harmonic Minor scales. The m7 in the chord above the major triad enhances the tension of the dominant chord and its resolution to tonic. It contains the following intervals: 

R    M3    P5    m7
 -M3-  -m3-  -m3-
 ----P5----  
       ----d5----
 -------m7-------

Notice the d5, extra m3, and m7 intervals the 7th introduces. This has a huge impact in the overall dissonance of the chord, adding to its dominant function as the V7 chord.

Fingering Charts 
R |i|-|-|
5 |i|-|-|
3 |)|m|-|
7 |i|-|-|
5 |)|-|r|
R |i|-|-|

R |i|-|-|-|
7 |i|-|-|p|
3 |)|m|-|-|
7 |i|-|-|-|
5 |)|-|r|-|
R |i|-|-|-|

7 |-|m|-|-|
3 |i|-|-|-|
R |i|-|-|-|
5 |i|-|-|-|
3 |-|-|r|-|
R |-|-|-|p|

5 |i|-|-|
3 |)|-|p|
7 |i|-|-|
5 |)|-|r|
R |i|-|-|
  |-|-|-|

  |-|-|-|
R |i|-|-|
7 |-|-|p|
3 |-|m|-|
R |-|-|r|
  |-|-|-|

3 |-|-|p|
7 |-|m|-|
5 |-|-|r|
R |i|-|-|
  |-|-|-|
  |-|-|-|

7 |i|-|-|-|-|
5 |-|-|m|-|-|
3 |-|-|-|r|-|
R |-|-|-|-|p|
  |-|-|-|-|-|
  |-|-|-|-|-|
Open Position Fingering Charts
E7 E7 G7 A7 
R o|-|-|
5 o|-|-|
3 ||i|-|
7 o|-|-|
5 ||-|m|
R o|-|-|

R o|-|-|-|
7 o|-|-|p|
3 ||i|-|-|
R ||-|r|-|
5 ||-|m|-|
R o|-|-|-|

7 ||i|-|-|
3 o|-|-|-|
R o|-|-|-|
5 o|-|-|-|
3 ||-|m|-|
R ||-|-|r|

5 o|-|-|
3 ||-|r|
7 o|-|-|
5 ||-|m|
R o|-|-|
  ||-|-|
C7 D7 
3 o|-|-|-|
R ||i|-|-|
7 ||-|-|p|
3 ||-|m|-|
R ||-|-|r|
  ||-|-|-|

3 ||-|r|
7 ||i|-|
5 ||-|m|
R o|-|-|
  ||-|-|
  ||-|-|
Top

Major Seventh

Member Notes Spelling Example
(R M3 P5 M7) RΔ7 (R = Root Note) or R maj7 CΔ7, (C E G B) or C maj7

The major seventh is a fairly common 7th chord (also sometimes written as Δ7). It appears as on the I and IV chords diatonic to the major keys. The M7 typically needs some space to prevent it from sounding overly dissonant. If the octave is stacked on top the M7, you get the inversion of the M7, the m2 interval, which is very dissonant. Overall, I find this chord sounds quite peaceful; however, it still has a bit of tension. This makes it work great for jazz or if you want to use the tonic without feeling fully resolved. It contains the following intervals: 

R    M3    P5    M7
 -M3-  -m3-  -M3-
 ----P5----  
       ----P5----
 -------M7-------

A rather consonant set of intervals, with the exception of the M7. So long as the major 7th isn't voiced right against the root or octave, it isn't unbearable. The dual perfect fifths and extra M3 add to the consonance of the chord. Overall, I find the major 7th is quite consonant and peaceful, but there's something deep inside the chord that feels mysterious and subtly unresolved.

Fingering Charts 
7 |i|-|-|-|
  |)|-|-|-|
3 |-|)|r|-|
7 |-|)|m|-|
5 |-|)|-|p|
R |-|i|-|-|

7 |-|-|m|-|
3 |i|-|-|-|
R |i|-|-|-|
5 |i|-|-|-|
3 |-|-|r|-|
R |-|-|-|p|

5 |i|-|-|
3 |)|-|p|
7 |)|m|-|
5 |)|-|r|
R |i|-|-|
  |-|-|-|

5 |i|-|-|-|
7 |i|-|-|-|
5 |i|-|-|-|
3 |-|-|m|-|
R |-|-|-|r|
  |-|-|-|-|

3 |-|-|r|
7 |-|-|r|
5 |-|-|r|
R |i|-|-|
  |-|-|-|
  |-|-|-|

7 |i|-|-|-|
5 |-|m|-|-|
3 |-|-|r|-|
R |-|-|-|p|
  |-|-|-|-|
  |-|-|-|-|
Open Position Fingering Charts
EΔ7 FΔ7 GΔ7 AΔ7 CΔ7 DΔ7 FΔ7 
  ||-|-|
5 o|-|-|
3 ||m|-|
7 ||i|-|
5 ||-|r|
R o|-|-|

7 o|-|-|-|
  ||-|-|-|
3 ||-|m|-|
7 ||-|-|p|
5 ||-|-|r|
R ||i|-|-|

7 ||-|i|-|
3 o|-|-|-|
R o|-|-|-|
5 o|-|-|-|
  ||-|-|-|
R ||-|-|m|

5 o|-|-|
3 ||-|r|
7 ||i|-|
5 ||-|m|
R o|-|-|
  ||-|-|

5 o|-|-|-|
7 o|-|-|-|
5 o|-|-|-|
3 ||-|m|-|
R ||-|-|r|
  ||-|-|-|

3 ||-|i|
7 ||-|i|
5 ||-|i|
R o|-|-|
  ||-|-|
  ||-|-|

7 o|-|-|-|
5 ||i|-|-|
3 ||-|m|-|
R ||-|-|r|
  ||-|-|-|
  ||-|-|-|

1st String
root is
omitted to
avoid m9

Top

Minor Seventh

Member Notes Spelling Example
(R m3 P5 m7) Rm7 (R = Root Note) Dm7, (D F A C)

The minor seventh is a very common 7th chord. It appears as the ii7, iii7, and vi7 in major keys; i7, iv7, and v7 in natural minor; and iv7 in harmonic minor. 

R    m3    P5    m7
 -m3-  -M3-  -m3-
 ----P5----  
       ----P5----
 -------m7-------

Adding the m7 adds a m3, P5, and m7 interval to the chord. The overall effect is to add some subtle mystery to the chord, similar to the Major 7th Chord. The added intervals are fairly consonant and don't seem to make the chord more dissonant, but the chord is clearly altered and sounds less resolved in-and-of itself.

Fingering Charts 
R |i|-|-|
5 |i|-|-|
3 |i|-|-|
7 |i|-|-|
5 |)|-|r|
R |i|-|-|

5 |i|-|-|
3 |)|m|-|
7 |i|-|-|
5 |)|-|r|
R |i|-|-|
  |-|-|-|

5 |-|-|p|
R |i|-|-|
7 |)|-|r|
3 |i|-|-|
R |-|-|m|
  |-|-|-|

3 |-|r|-|
7 |-|m|-|
5 |-|-|p|
R |i|-|-|
  |-|-|-|
  |-|-|-|

7 |i|-|-|-|-|
5 |-|-|r|-|-|
3 |-|-|m|-|-|
R |-|-|-|-|p|
  |-|-|-|-|-|
  |-|-|-|-|-|
Open Position Fingering Charts
Em7 Am7 Bm7 Dm7 
R o|-|-|
5 o|-|-|
3 o|-|-|
7 o|-|-|
5 ||-|m|
R o|-|-|

5 o|-|-|
3 ||i|-|
7 o|-|-|
5 ||-|m|
R o|-|-|
  ||-|-|

5 ||-|p|
R o|-|-|
7 ||-|r|
3 o|-|-|
R ||-|m|
  ||-|-|

3 ||i|-|
7 ||i|-|
5 ||-|m|
R o|-|-|
  ||-|-|
  ||-|-|
Top

Half Diminished

Member Notes Spelling Example
(R m3 d5 m7) Rø7 (R = Root Note) Bø7, (B D F A)

The half diminished seventh chord adds a m7 above root to a diminished triad. This is usually the diatonic 7th for diminished chords, appearing as viiø7 in major and iiø7 in minor keys. 

R    m3    d5    m7
 -m3-  -m3-  -M3-
 ----d5----  
       ----P5----
 -------m7-------

The 7th here adds M3, P5, and m7 intervals to the chord, improving its consonance. I find the half-dimisished chords are also easier to finger and allow more strings to ring out than the diminished triad shapes. I recommend using this chord in place of diminished triads where possible.

Fingering Charts 
  |-|-|-|
  |-|-|-|
3 |i|-|-|
7 |i|-|-|
5 |)|r|-|
R |i|-|-|

  |-|-|
3 |)|r|
7 |i|-|
5 |)|m|
R |i|-|
  |-|-|

3 |-|r|-|
7 |-|r|-|
5 |-|r|-|
R |i|-|-|
  |-|-|-|
  |-|-|-|

7 |i|-|-|-|-|
5 |-|m|-|-|-|
3 |-|-|r|-|-|
R |-|-|-|-|p|
  |-|-|-|-|-|
  |-|-|-|-|-|
Open Position Fingering Charts
F♯ø7 Fø7 Bø7 
  ||-|-|-|-|
5 ||i|-|-|-|
3 ||-|p|-|-|
7 ||-|r|-|-|
3 o|-|-|-|-|
R ||-|m|-|-|

  ||-|-|-|
5 o|-|-|-|
3 ||r|-|-|
7 ||m|-|-|
5 ||-|p|-|
R ||i|-|-|

5 ||i|-|-|-|
R o|-|-|-|-|
7 ||-|r|-|-|
3 o|-|-|-|-|
R ||-|m|-|-|
  ||-|-|-|-|
Top

Fully Diminished

Member Notes Spelling Example
(R m3 d5 d7) R°7 (R = Root Note) B°7, (B D F A♭)

The fully diminished seventh chord is quite rare for diatonic chord progressions; however, it is very handy for modulating between keys. It serves as a pivot chord between basically any 2 keys. It is also useful to enter an atonal feel, where chromatic or octatonic scales can play over the chord. It is the diatonic vii°7 of harmonic minor. 

R    m3    d5    d7
 -m3-  -m3-  -m3-
 ----d5----  
       ----d5----
 -------d7-------

Holy wowsers that's some dissonant stuff. Adding the d7 to the diminished triad simply extends its dissonant feel further. Notice that the inversion of the d7 is a m3, making the distance from the d7 to the octave another m3. In another words, this chord is an endless sequence of stacked m3's.

Fingering Charts 
  |-|-|-|
  |-|-|-|
3 |-|r|-|
7 |i|-|-|
5 |-|-|p|
R |-|m|-|

5 |i|-|-|
3 |)|-|p|
7 |i|-|-|
5 |-|-|r|
R |-|m|-|
  |-|-|-|

3 |-|r|-|
7 |i|-|-|
5 |)|m|-|
R |i|-|-|
  |-|-|-|
  |-|-|-|

7 |i|-|-|-|-|-|
5 |-|-|m|-|-|-|
3 |-|-|-|r|-|-|
R |-|-|-|-|-|p|
  |-|-|-|-|-|-|
  |-|-|-|-|-|-|
Top

Minor/Major Seventh

Member Notes Spelling Example
(R m3 P5 M7) RmΔ7 (R = Root Note) or Rm maj7 DmΔ7, (D F A C♯) or Dm maj7

The minor/major seventh chord is a particularly rare chord. It is the diatonic i7 chord of harmonic minor. 

R    m3    P5    M7
 -m3-  -M3-  -M3-
 ----P5----  
       ----a5----
 -------M7-------

If you remove the root from this chord, you are left with an augmented triad. You can hear it inside this chord - it sounds unsettling, but it also sounds lost like there is no chord that can easily resolve it, other than to treat the M7 like a suspension and resolve it down to a m7, giving you a Minor 7th Chord. I like arpeggiating this chord. It's more stable (clearer root/tonality) than a simple augmented or diminished chord, but it shares their open-ended mysterious tone.

Fingering Charts 
  |-|-|-|
5 |i|-|-|
3 |i|-|-|
7 |)|m|-|
5 |)|-|r|
R |i|-|-|

5 |i|-|-|
3 |)|r|-|
7 |)|m|-|
5 |)|-|p|
R |i|-|-|
  |-|-|-|

  |-|-|-|-|
R |i|-|-|-|
7 |)|-|-|p|
3 |i|-|-|-|
R |-|-|r|-|
  |-|-|-|-|

3 |-|m|-|
7 |-|-|p|
5 |-|-|r|
R |i|-|-|
  |-|-|-|
  |-|-|-|

7 |i|-|-|-|
5 |-|r|-|-|
3 |-|m|-|-|
R |-|-|-|p|
  |-|-|-|-|
  |-|-|-|-|
Top

Augmented Seventh

Member Notes Spelling Example
(R M3 a5 M7) R+7 (R = Root Note) C+7, (C E G♯ B)

The augmented seventh chord adds a M7 to an augmented triad. I honestly didn't even think about this chord until looking at the diatonic 7th chords for harmonic minor. This is its III+7 chord. 

R    M3    a5    M7
 -M3-  -M3-  -m3-
 ----a5----  
       ----P5----
 -------M7-------

Similar to how the added m7 helps stabilize the half diminished 7th chord, the added M7 here adds m3, P5, and m7 intervals, helping to stabilize the chord. The 3rd, 5th, and 7th of the chord compose a major triad. This lightens the dissonance of the (R 3 5) augmented triad.

Fingering Charts 
  |-|-|-|-|-|
  |-|-|-|-|-|
7 |i|-|-|-|-|
5 |-|-|m|-|-|
3 |-|-|-|r|-|
R |-|-|-|-|p|

3 |i|-|-|-|
7 |i|-|-|-|
5 |-|m|-|-|
3 |-|-|r|-|
R |-|-|-|p|
  |-|-|-|-|

3 |-|-|r|-|
7 |-|-|r|-|
5 |-|-|-|p|
R |i|-|-|-|
  |-|-|-|-|
  |-|-|-|-|

7 |i|-|-|-|
5 |-|-|m|-|
3 |-|-|r|-|
R |-|-|-|p|
  |-|-|-|-|
  |-|-|-|-|
Top

Common Open Position Voicings


A7

||-|-|r|-|
||-|i|-|-|
||-|i|-|-|
||-|i|-|-|
o|-|-|-|-|
||-|-|-|-|

Am7

||-|-|p|-|
||i|-|-|-|
||-|r|-|-|
||-|m|-|-|
o|-|-|-|-|
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B7

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Bm7

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Bø7

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B°7

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C7

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CΔ7

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D7

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Dm7

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DΔ7

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D+7

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E7

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Em7

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EΔ7

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Eø7

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FΔ7

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FΔ7

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Fø7

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F♯ø7

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G7

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G7

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GΔ7

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Top

Diatonic Chords

Only dominant 7ths, minor 7ths, major 7ths, and half diminished 7ths are diatonic to the major and natural minor scales.

Major Scale 7th Chords
Harmonic
Name 		IΔ7 ii7 iii7 IVΔ7 V7 vi7 viiø7
C Major
Name 		CΔ7 Dm7 Em7 FΔ7 G7 Am7 Bø7
Natural Minor Scale 7th Chords
Harmonic
Name 		i7 iiø7 IIIΔ7 iv7 v7 VIΔ7 VII7
A Minor
Name 		Am7 Bø7 CΔ7 Dm7 Em7 FΔ7 G7

Harmonic Minor uses those but additionally adds an augmented 7th, a minor/major 7th, and a fully diminished 7th. Every chord is a unique variation.

Harmonic Minor Scale 7th Chords
Harmonic
Name 		iΔ7 iiø7 III+7 iv7 V7 VIΔ7 vii°7
A Minor
Name 		AmΔ7 Bø7 C+7 Dm7 E7 FΔ7 G♯°7

The fully diminished 7th is also diatonic to the octatonic diminished scales (Whole-Half and Half-Whole).

Sample Progressions

Top

Why/When 7ths?

In general, 7ths can be used to get a more complex sound than a basic triad. Added on top of major/minor triads typically makes them feel less resolved. This is particularly handy for the Dominant 7th, as the dominant (V) chord is generally desired to feel tense, seeking resolution to the tonic (I or i). Adding a 7th to the tonic triad weakens its sense of resolution; however, it still serves as tonic and is the guiding beacon for the harmony. The tonic 7th can give a feeling of incomplete resolution, making the music feel more relaxed and flowing than seeking completion.

The most common use of 7th chords comes in the form of V7 - I (or V7 - i) progressions.

As noted for the augmented 7th and half diminished 7th Chords, the 7th helps add consonance and lightens the feel of the basic triad, while adding a richer harmony to it and making it feel more complExample I recommend always using the half diminished 7th over the triad when diatonic to the current key, especially as the viiø7 chord of a major key.

Sevenths can also be desirable for voice leading purposes. Or it may simply be implied by a melody line.

Fully diminished and minor/major 7th chords are particularly dissonant and create a particularly unresolved feeling. The fully diminished 7th chord can also be used to signal an atonal feel.

Top

Homework

  • Learn the different varieties of 7th chords, in terms of their names and the intervals against the root note.
  • Learn at least 1 barre chord shape for each variety of 7th chord
  • Learn all the diatonic 7th chords for C Major/A Natural Minor in open position.
  • Learn all the diatonic 7th chords for A Harmonic Minor in open position.
  • Learn several chords that are non-diatonic are non-diatonic to C Major/A Minor in open position.
  • Know that the V7-I or V7-i is possibly the strongest harmonic resolution possible in Western music.
  • Play the sample progressions above.
  • Play progressions from previous lessons, particularly the circle progression, substituting in 7th chords. Get a feel for when 7th chords are appropriate and when they are not, based on the harmonic function of the chord as well as the style of music.
  • Create your own progressions, substituting in diatonic 7th chords.


Congratulations! You are ready to move on to the advanced lessons.

Q & A

Related Lessons

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Last edited on 8 November 2015, at 23:36