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.
- Cm7
- Dbm7
- Dm7
- Ebm7
- Em7
- Fm7
- F#m7
- Gm7
- Abm7
- Am7
- Bbm7
- Bm7
Voicings
Written in C, because that is the key the encyclopedia authors them in; every one transposes unchanged.
Root Position
C · Eb · G · Bb
beginner
1st Inversion
Eb · G · Bb · C
beginner
Drop-2
G · C · Eb · Bb
intermediate
Rootless Type A (b3-5-b7-9)
Eb · G · Bb · D
intermediate
Rootless Type B (b7-9-b3-5)
Bb · D · Eb · G
advanced
Rootless Quartal Spread (b7-b3-5-9)
Bb · Eb · G · D
advanced
Rootless minor stacked in 4ths/5ths — McCoy-style open minor color
Drop-2 1st Inversion
G · Eb · Bb · C
intermediate
LH G; RH 1-3-5 on Eb-Bb-C. Keep the b3-b7 (Eb-Bb) ringing for the minor color.
So-What Quartal Column (5-1-4-b7-b3)
G · C · F · Bb · Eb
advanced
LH G-C, RH F-Bb-Eb. The top Eb is a fourth above Bb — keep the hand open, don't collapse it to a third.
Where it turns up
The iim7 chord of a MAJOR ii-V-I (e.g. Cm7-F7-Bbmaj7) — and the tonic of a Dorian/minor vamp. The ii of a MINOR ii-V-i is the half-diminished m7b5, not a plain m7. Warm, introspective; very common in jazz ballads.
Commonly swapped with
- Cm9
- Ebmaj7
- Cm11
Progressions that use it
Every one of these is written out with the hands on a keyboard and on a stave.
- Classic I-vi-ii-V
- I-VI7-ii-V (Dominant VI)
- Chromatic Descending (I-biii-ii-bII7-I)
- Minor Turnaround (i-bVI-iim7b5-V7)
- Chromatic Dominants (I-bII7-ii-bVI7)
- Tag Ending (I-VI7-ii-V7-I)
- Bebop Blues in F
- Minor Blues in C
- Gospel Blues (IV-iv Move)
- Modern Blues in Bb
- Funky Blues (Robert Glasper Style)
- iii-VI-ii-V Turnaround (Bars 9-12)
- Minor Blues in A