Component intervals from root | |
---|---|
minor seventh | |
perfect fifth | |
minor third | |
root | |
Tuning | |
10:12:15:18 [1] | |
Forte no. / | |
4-26 / |
In music, a minor seventh chord is a seventh chord composed of a root note, a minor third, a perfect fifth, and a minor seventh (1, ♭3, 5, ♭7). In other words, one could think of it as a minor triad with a minor seventh attached to it. [2]
For example, the minor seventh chord built on A, commonly written as A−7, has pitches A-C-E-G:
A seventh chord with a minor third, perfect fifth, and minor seventh is commonly called a minor seventh chord, but also sometimes a minor/minor seventh chord to distinguish it from the minor/major seventh chord discussed below. It can be represented as either as m7 or −7, or in integer notation, {0, 3, 7, 10}.
This chord occurs on different scale degrees in different diatonic scales:
Example of tonic minor seventh chords include LaBelle's " Lady Marmalade", Roberta Flack's " Killing Me Softly with His Song", The Doobie Brothers' " Long Train Runnin'", Chic's " Le Freak", Lipps Inc.'s " Funkytown", and the Eagles' " One Of These Nights". [5]
The major sixth chord (major triad with an added major sixth) is an inversion of this chord.
When the seventh note is a major seventh above the root, it is called a minor/major seventh chord. For example, the minor/major seventh chord built on C, commonly written as CmM7, has pitches C–E♭–G–B:
Its harmonic function is similar to that of a "normal" minor seventh, as is the minor seven flat five or half-diminished chord – but in each case, the altered tone (seventh or fifth, respectively) creates a different feeling which is exploited in modulations and to use leading-tones.
The minor seventh chord may also have its interval of minor seventh (between root and seventh degree, i.e.: C–B♭ in C–E♭–G–B♭) rewritten as an augmented sixth C–E♭–G–A♯. [6] Rearranging and transposing, this gives A♭–C♭–E♭–F♯, a virtual minor version of the German augmented sixth chord. [7] Again like the typical augmented sixth, this enharmonic interpretation gives on a resolution irregular for the minor seventh but normal for the augmented sixth chord, where the 2 voices at the enharmonic major second converge to unison or diverge to octave. [8]
The just minor seventh chord is tuned in the ratios 10:12:15:18. [9] This may be found on iii, vi, and vii. [10] Another tuning may be in the ratios 48:40:32:27. [11]
In standard tuning, the left is the low E string, the number is the fret, and x means mute the string.
Component intervals from root | |
---|---|
minor seventh | |
perfect fifth | |
minor third | |
root | |
Tuning | |
10:12:15:18 [1] | |
Forte no. / | |
4-26 / |
In music, a minor seventh chord is a seventh chord composed of a root note, a minor third, a perfect fifth, and a minor seventh (1, ♭3, 5, ♭7). In other words, one could think of it as a minor triad with a minor seventh attached to it. [2]
For example, the minor seventh chord built on A, commonly written as A−7, has pitches A-C-E-G:
A seventh chord with a minor third, perfect fifth, and minor seventh is commonly called a minor seventh chord, but also sometimes a minor/minor seventh chord to distinguish it from the minor/major seventh chord discussed below. It can be represented as either as m7 or −7, or in integer notation, {0, 3, 7, 10}.
This chord occurs on different scale degrees in different diatonic scales:
Example of tonic minor seventh chords include LaBelle's " Lady Marmalade", Roberta Flack's " Killing Me Softly with His Song", The Doobie Brothers' " Long Train Runnin'", Chic's " Le Freak", Lipps Inc.'s " Funkytown", and the Eagles' " One Of These Nights". [5]
The major sixth chord (major triad with an added major sixth) is an inversion of this chord.
When the seventh note is a major seventh above the root, it is called a minor/major seventh chord. For example, the minor/major seventh chord built on C, commonly written as CmM7, has pitches C–E♭–G–B:
Its harmonic function is similar to that of a "normal" minor seventh, as is the minor seven flat five or half-diminished chord – but in each case, the altered tone (seventh or fifth, respectively) creates a different feeling which is exploited in modulations and to use leading-tones.
The minor seventh chord may also have its interval of minor seventh (between root and seventh degree, i.e.: C–B♭ in C–E♭–G–B♭) rewritten as an augmented sixth C–E♭–G–A♯. [6] Rearranging and transposing, this gives A♭–C♭–E♭–F♯, a virtual minor version of the German augmented sixth chord. [7] Again like the typical augmented sixth, this enharmonic interpretation gives on a resolution irregular for the minor seventh but normal for the augmented sixth chord, where the 2 voices at the enharmonic major second converge to unison or diverge to octave. [8]
The just minor seventh chord is tuned in the ratios 10:12:15:18. [9] This may be found on iii, vi, and vii. [10] Another tuning may be in the ratios 48:40:32:27. [11]
In standard tuning, the left is the low E string, the number is the fret, and x means mute the string.