Seventh Chords

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A seventh chord is a triad with an additional note a third above it. Depending on the quality of the triad and whether the additional note is a major or minor third above it, different qualities of seventh chords result.

If a major triad has a note a minor third above the top appended to it, the resulting chord is called a dominant seventh chord. For example, here is a G dominant seventh, which is abbreviated as G7:

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The dominant seventh is the most important seventh chord in classical harmony as well as jazz. When the term "seventh chord" is used without any additional qualifier, a dominant seventh is assumed. This chord can be found within the major scale by starting on the fifth degree, which is also called the dominant, and taking every other scale tone after that. For example, G is the fifth degree of the C major scale, so the G dominant seventh chord can be found within the C major scale by starting on G and taking every other scale tone:

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As will be discussed further in the section on functional harmony, a dominant seventh chord tends to resolve to the tonic - the chord built on the root of the scale. For example, a G7 chord is most often followed by a C major chord:

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This resolution is fundamental to Western harmony.

If a major triad has a major third appended to it, the resulting chord is called a major seventh chord. For example, here is a G major seventh, which is abbreviated as Gmaj7, or as GD:

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This chord is rarely used and considered dissonant in classical harmony, but it is common and considered consonant in jazz.

If a minor triad has a minor third appended to it, the resulting chord is called a minor seventh chord. For example, here is a G minor seventh, which is abbreviated as Gm7:

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This chord is common in both classical and jazz harmony.

If a minor triad as a major third appended to it, the resulting chord is called a minor-major seventh chord. For example, here is a G minor-major seventh, which is abbreviated as Gm-maj7:

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This chord is rare in classical harmony, and is not very common in jazz either.

If a diminished triad has a minor third appended to it, the resulting chord is called a fully diminished seventh chord. For example, here is a G fully diminished seventh, which is abbreviated as Go 7:

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This chord is used in both classical and jazz harmony.

If a diminished triad has a major third appended to it, the resulting chord is called a half diminished seventh chord. For example, here is a G half diminished seventh, which is abbreviated as Gf 7:

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This chord is used in both classical and jazz harmony. In jazz, however, it is more commonly referred to as a minor seventh flat five, since it resembles a minor seventh chord except that the fifth is lowered a half step. For example, here is a G minor seventh and a G minor seventh flat five, which is abbreviated Gm7b5:

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Seventh chords based on augmented triads are rare in both classical and jazz harmony and are not discussed here, although they will be mentioned in the section on chord alterations.

Seventh chords can be inverted just as triads are. Since there are three notes besides the root, there are three inversions besides root position:

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As with triads, one should become familiar with the sounds of these chords, and if you desire to play jazz, you should be able to play these chords on demand.

Copyright 2000 Outside Shore Music
Authored by Marc Sabatella

Seventh Chords