7th Chords

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

Varieties of 7th Chords

Varieties Open Pos. Voicings Diatonic Chords Why/When 7ths?

Dominant Seventh

Dominant Major Minor Half Diminished Fully Diminished Minor/Major Augmented

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

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\|-\|-\| \|\|-\|-\| \|\|-\|-\|

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Major Seventh

Dominant Major Minor Half Diminished Fully Diminished Minor/Major Augmented

Member Notes	Spelling	Example
(R M3 P5 M7)	R^Δ⁷ (R = Root Note) or R maj⁷	C^Δ⁷, (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

E^Δ⁷

F^Δ⁷

G^Δ⁷

A^Δ⁷

C^Δ⁷

D^Δ⁷

F^Δ⁷

  ||-|-|
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

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Minor Seventh

Dominant Major Minor Half Diminished Fully Diminished Minor/Major Augmented

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|-|-|
  ||-|-|
  ||-|-|

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Half Diminished

Dominant Major Minor Half Diminished Fully Diminished Minor/Major Augmented

Member Notes	Spelling	Example
(R m3 d5 m7)	R^ø⁷ (R = Root Note)	B^ø⁷, (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^ø⁷ in major and ii^ø⁷ 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

F^ø⁷

B^ø⁷

  ||-|-|-|-|
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|-|-|
  ||-|-|-|-|

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Fully Diminished

Dominant Major Minor Half Diminished Fully Diminished Minor/Major Augmented

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|
  |-|-|-|-|-|-|
  |-|-|-|-|-|-|

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Minor/Major Seventh

Dominant Major Minor Half Diminished Fully Diminished Minor/Major Augmented

Member Notes	Spelling	Example
(R m3 P5 M7)	Rm^Δ⁷ (R = Root Note) or Rm maj⁷	Dm^Δ⁷, (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|
  |-|-|-|-|
  |-|-|-|-|

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Augmented Seventh

Dominant Major Minor Half Diminished Fully Diminished Minor/Major Augmented

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|
  |-|-|-|-|
  |-|-|-|-|

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Common Open Position Voicings

Varieties Open Pos. Voicings Diatonic Chords Why/When 7ths?

A⁷

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

Am⁷

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

B⁷

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

Bm⁷

||-|p|-|-|
o|-|-|-|-|
||-|r|-|-|
o|-|-|-|-|
||-|m|-|-|
||-|-|-|-|

B^ø⁷

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

B°⁷

||-|-|-|-|
||-|-|p|-|
||i|-|-|-|
||-|-|r|-|
||-|m|-|-|
||-|-|-|-|

C⁷

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

C^Δ⁷

o|-|-|-|-|
o|-|-|-|-|
o|-|-|-|-|
||-|m|-|-|
||-|-|r|-|
||-|-|-|-|

D⁷

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

Dm⁷

||i|-|-|-|
||i|-|-|-|
||-|m|-|-|
o|-|-|-|-|
||-|-|-|-|
||-|-|-|-|

D^Δ⁷

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

D+⁷

||-|i|-|-|
||-|i|-|-|
||-|-|m|-|
o|-|-|-|-|
||-|-|-|-|
||-|-|-|-|

E⁷

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

Em⁷

o|-|-|-|-|
o|-|-|-|-|
o|-|-|-|-|
o|-|-|-|-|
||-|m|-|-|
o|-|-|-|-|

E^Δ⁷

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

E^ø⁷

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

F^Δ⁷

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

F^Δ⁷

o|-|-|-|-|
x|-|-|-|-|
||-|m|-|-|
||-|-|p|-|
||-|-|r|-|
||i|-|-|-|

F^ø⁷

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

F♯^ø⁷

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

G⁷

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

G⁷

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

G^Δ⁷

||-|i|-|-|
||-|-|r|-|
o|-|-|-|-|
o|-|-|-|-|
x|-|-|-|-|
||-|-|m|-|

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Diatonic Chords

Varieties Open Pos. Voicings Diatonic Chords Why/When 7ths?

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	I^Δ⁷	ii⁷	iii⁷	IV^Δ⁷	V⁷	vi⁷	vii^ø⁷
C Major Name	C^Δ⁷	Dm⁷	Em⁷	F^Δ⁷	G⁷	Am⁷	B^ø⁷

Natural Minor Scale 7th Chords
Harmonic Name	i⁷	ii^ø⁷	III^Δ⁷	iv⁷	v⁷	VI^Δ⁷	VII⁷
A Minor Name	Am⁷	B^ø⁷	C^Δ⁷	Dm⁷	Em⁷	F^Δ⁷	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	i^Δ⁷	ii^ø⁷	III+⁷	iv⁷	V⁷	VI^Δ⁷	vii°⁷
A Minor Name	Am^Δ⁷	B^ø⁷	C+⁷	Dm⁷	E⁷	F^Δ⁷	G♯°⁷

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

Sample Progressions

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Why/When 7ths?

Varieties Open Pos. Voicings Diatonic Chords 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 vii^ø⁷ 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.

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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

Top

B dim Open Chords Minor Keys Harmonic Min Barre Chords Sus Chords Rhythm Circle of 5ths G Maj and E Min 5th Pos All Pos CAGED 7th Chords

7th Chords

Contents

PreReqs

Varieties of 7th Chords

Dominant Seventh

Major Seventh

Minor Seventh

Half Diminished

Fully Diminished

Minor/Major Seventh

Augmented Seventh

Common Open Position Voicings

Diatonic Chords

Sample Progressions

Why/When 7ths?

Homework

Q & A

Related Lessons