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Major

Major seventh chords

Built from the major scale: Root (C), Major 3rd (E), Perfect 5th (G), Major 7th (B). Formula: 1-3-5-7

In every key

The same shape, moved. The symbols below are spelled the way the app spells them, which is the spelling the chord's own scale asks for rather than whichever accidental is easier to type.

  • Cmaj7
  • Dbmaj7
  • Dmaj7
  • Ebmaj7
  • Emaj7
  • Fmaj7
  • F#maj7
  • Gmaj7
  • Abmaj7
  • Amaj7
  • Bbmaj7
  • Bmaj7

Voicings

Written in C, because that is the key the encyclopedia authors them in; every one transposes unchanged.

Root Position (Closed)

C · E · G · B

beginner

Octaves shown are the app's default ascending voicing.

Play with fingers 1-2-3-5 (thumb, index, middle, pinky)

1st Inversion

E · G · B · C

beginner

Octaves shown are the app's default ascending voicing.

2nd Inversion

G · B · C · E

beginner

Octaves shown are the app's default ascending voicing.

3rd Inversion

B · C · E · G

beginner

Octaves shown are the app's default ascending voicing.

Drop-2 Root Position

G · C · E · B

intermediate

Perfect for smooth voice leading in comping

Drop-2 3rd Inversion

E · B · C · G

intermediate

Rootless Type A (3-5-7-9)

E · G · B · D

intermediate

Bill Evans style - omits root, assumes bass player plays C

Rootless Type B (7-9-3-5)

B · D · E · G

intermediate

Open Voicing (Spread)

C · G · B · E

advanced

Octaves shown are the app's default ascending voicing.

Drop-2-4

B · E · G · C

advanced

Octaves shown are the app's default ascending voicing.

So-What over Major (3-13-9-5-7)

E · A · D · G · B

advanced

Evans 'So What' shape (stacked 4ths + a 3rd) over major — modern modal comp

Drop-3 Root Position

E · C · G · B

intermediate

Drop the 2nd-from-top of close position an octave — wide solo-piano major 7

Quartal (3-13-9-5)

E · A · D · G

advanced

Pure stack of 4ths off the 3rd — McCoy/post-Evans quartal color

Drop-2 1st Inversion

B · E · G · C

intermediate

Drop-2 of the 1st-inversion close (E-G-B-C): lower the 2nd-from-top voice (B). LH B; RH E-G-C above.

Drop-2 2nd Inversion

C · G · B · E

intermediate

LH C; RH 1-2-5 on G-B-E, keep the B-E reach open and relaxed.

Drop-3 1st Inversion

G · E · B · C

advanced

LH G low; RH 1-3-5 on E-B-C. Let the wide gap ring with sustain.

So-What over Major (7-3-13-9)

B · E · A · D

advanced

RH stack B-E-A-D, thumb on B and pinky on D; keep the wrist level so all three fourths speak evenly.

Red Garland Block

C · E · G · B · E

intermediate

LH C-E, RH G-B-E; keep the top E singing as melody. Both hands lock and move together.

Mehldau Quartal Spread (7-3-13-9)

B · E · A · D

advanced

RH alone or split hands 1-2-3-5 up the fourths; keep them even and ringing, no rolling.

Where it turns up

Essential Imaj7 chord in jazz. Used in II-V-I progressions, creates a bright, open sound. Common in ballads and bossa nova.

Commonly swapped with

  • C6
  • Em7
  • Am7

Progressions that use it

Every one of these is written out with the hands on a keyboard and on a stave.