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2.2 Seventh chords

Four-note chords: the foundation of jazz harmony

Key Concepts

What Are They?

Triad + seventh = 4 notes (1-3-5-7). They add harmonic complexity and tension/resolution.

Five Types

maj7 (stable), 7 (dominant), m7 (dark), m7♭5 (unstable), dim7 (symmetrical).

Universal Pattern

In every major scale: Imaj7 – IIm7 – IIIm7 – IVmaj7 – V7 – VIm7 – VIIm7♭5.

II-V-I

The most important progression in jazz: Preparation (IIm7) → Tension (V7) → Resolution (Imaj7).

Triton

The interval between the 3rd and 7th of the V7 (e.g. B–F in G7) creates a tension that requires resolution.

Voicing

Drop 2, Drop 3, close/open voicings: note arrangements for playing chords on the piano and guitar.

An Introduction to Seventh Chords

What are seventh chords?

Seventh chords are four-note chords consisting of a triad (1-3-5) with the addition of a seventh above the root. They form the heart of jazz harmony and are essential for creating sophisticated harmonic movement.

Whilst triads (3 notes) are sufficient for classical and pop harmony, seventh chords add a level of complexity, colour and tension that makes possible the harmonic richness of jazz, gospel, R&B and contemporary music.

Differences from the Triads:
  • Triad = 3 notes (1-3-5) → Simple, clear harmony
  • Seventh chords = 4 notes (1-3-5-7) → Complex harmony, rich in tension and resolution
From a triad to a seventh chord
C major triad
G (5a)
E (3a)
C (basic)

C = C-E-G

3 notes, a simple sound

Cmaj7
B (7 May)
G (5a)
E (3a)
C (basic)

Cmaj7 = C–E–G–B

4 notes, rich sound

The Five Fundamental Types

There are five main types of seventh chords, each with its own unique sound, harmonic function and application. Understanding these five types is essential for mastering jazz harmony.

1. Major 7 (Maj7 or Δ7)

Major triad + major seventh. A bright, stable and sophisticated sound. It is the ‘home’ chord, the chord of resolution.

Formula: 1 3 5 7

Intervals from the root: Root + Major third (4 semitones) + Perfect fifth (3 semitones) + Major seventh (4 semitones)

Character: Lively, steady, resolute, sophisticated, ‘jazz-like’

Use in jazz: Tonic chords (Imaj7, IVmaj7). Final resolution in II–V–I progressions

Famous songs: “Human Nature” (Michael Jackson), “Just the Two of Us” (Bill Withers)

B
G
E
C

Cmaj7

Examples in all keys: Cmaj7, Fmaj7, Gmaj7, Dmaj7, Amaj7, Emaj7, Bmaj7

2. Dominant 7 (7)

Major triad + minor seventh. It creates harmonic tension and ‘seeks’ to resolve to a tonic chord. It is the driving force behind harmonic movement.

Chord: 1 3 5 ♭7

Intervals: Perfect 4th + Major 3rd (4) + Perfect fifth (3) + Minor 7th (3)

Character: Tense, unstable, dominant, ‘calls for resolution’, bluesy

Jazz usage: Dominant chord (V7), the most important chord in jazz. It creates tension that resolves to I or VI

Famous songs: “Sweet Home Chicago” (blues standard), “Fly Me to the Moon” (Frank Sinatra)

F
D
B
G

G7

The Tritone – The Key to Tension: The interval between the third and the seventh (in G7: B–F) forms a tritone (6 semitones), the most dissonant interval in Western music. This tritone generates the driving force towards the tonic. In G7 → C, the B–F tritone resolves to C–E.
Examples: G7, C7, D7, A7, E7, B7, F7

3. Minor 7 (m7 or -7)

Minor triad + minor seventh. A dark yet steady sound, soft and warm. Very common in jazz, funk and R&B.;

Chord: 1 ♭3 5 ♭7

Intervals: Perfect + Minor third (3) + Perfect fifth (4) + Minor seventh (3)

Character: Dark, melancholic yet steady, gentle, ‘cool’, contemplative

Jazz usage: Subdominant chords (IIm7, IIIm7, VIm7). In the II-V-I progression, the IIm7 sets the stage for the V7

Famous tracks: “So What” (Miles Davis – all in Dm7), “Isn’t She Lovely” (Stevie Wonder)

C
A
F
D

Dm7

Examples: Dm7, Em7, Am7, Bm7, Cm7, Fm7, Gm7

4. Minor 7 Flat 5 / Half-Diminished (m7♭5 or ø7)

Diminished triad + minor seventh. An unstable, tense sound, but less dissonant than the fully diminished triad. Essential in minor II–V progressions.

Chord progression: 1 ♭3 ♭5 ♭7

Intervals: Perfect + Minor third (3) + Diminished fifth (3) + Minor seventh (4)

Character: Unstable, tense, uncertain, ‘incomplete’, melancholic

Use in jazz: VIIm7♭5 in the major scale, IIm7♭5 in the minor key (e.g. Bm7♭5 – E7 – Am7)

Famous tracks: “The Girl from Ipanema” (bossa nova standard), “Misty” (Erroll Garner)

A
F
D
B

Bm7♭5

Related Mode: The Locrian mode is perfect for improvising over m7♭5: it contains all the notes of the chord (1-♭3-♭5-♭7) plus ♭2 and ♭6 for colour.
Examples: Bm7♭5, Em7♭5, Dm7♭5, F#m7♭5, C#m7♭5

5. Diminished 7 (dim7 or °7)

Diminished triad + diminished seventh (♭♭7 = major 6th). Completely symmetrical (consisting solely of minor thirds), very tense. Used as a passing chord.

Chord progression: 1 ♭3 ♭5 ♭♭7 (6)

Intervals: All minor thirds (3-3-3-3 semitones). Symmetrical!

Mood: High tension, dissonant, mysterious, ‘horror’, unstable

Jazz usage: Chromatic passing chords, dominant substitutions, sudden modulations

Famous tracks: Music for horror/thriller films, ‘I Got Rhythm’ (diminished passages)

A♭
F♭ (E)
D♭
B

Bdim7

Unique Symmetry: As it is completely symmetrical (consisting solely of minor thirds), any note can be considered the root. B♭dim7 = Ddim7 = Fdim7 = A♭dim7. They are all the same chord! Consequently, there are only three unique diminished chords in all of music.
Examples: Bdim7, Ddim7, F#dim7, G#dim7, C#dim7

Comparison Table of the Five Types

Here is a side-by-side comparison of all types of seventh chords to help you tell them apart at a glance.

Type Formula Intervals Character Use Example
Maj7 1-3-5-7 M3+m3+M3 Bright, stable Tonic (I, IV) Cmaj7
7 (Sun) 1-3-5-♭7 M3+m3+m3 Tense, commanding Dominant (V) G7
m7 1-♭3-5-♭7 m3+M3+m3 Dark, stable Subdominant (II, III, VI) Dm7
m7♭5 1-♭3-♭5-♭7 m3+m3+M3 Unstable, tense VII in A major, II in A minor Bm7♭5
dim7 1-♭3-♭5-♭♭7 m3+m3+m3 Dissonant, symmetrical Transfer, replacement Bdim7

Harmonisation of the Major Scale with Sevenths

Each scale degree of the major scale produces a specific seventh chord. This diatonic harmonisation forms the basis of jazz harmony and modern composition.

Harmonised C Major Scale
Grado Agreement Notes Type Symbol Function
I D major 7 C-E-G-B Major 7 Cmaj7 Tonic
II D minor 7 D-F-A-C Minor 7 Dm7 Subdominant
III E minor 7 E-G-B-D Minor 7 Em7 By means of
IV F major 7 F-A-C-E Major 7 Fmaj7 Subdominant
V G dominant 7 G-B-D-F Dominant 7 G7 Dominant
VI The minor 7th A-C-E-G Minor 7 Am7 Supra-dominant
VII Si half-dim 7 B-D-F-A m7♭5 Bm7♭5 Sensitive
Universal Pattern: In ALL major scales, the progression of seventh chords follows this pattern: Imaj7 – IIm7 – IIIm7 – IVmaj7 – V7 – VIm7 – VIIm7♭5. Learn this sequence by heart!
Practical Exercise

Apply the Imaj7-IIm7-IIIm7-IVmaj7-V7-VIm7-VIIm7♭5 pattern to all major keys:

  • G major: Gmaj7 – Am7 – Bm7 – Cmaj7 – D7 – Em7 – F#m7♭5
  • F major: Fmaj7 – Gm7 – Am7 – B♭maj7 – C7 – Dm7 – Em7♭5
  • D major: Dmaj7 – Em7 – F#m7 – Gmaj7 – A7 – Bm7 – C#m7♭5

The II–V–I Progression

The II–V–I progression is the most important in jazz. It uses three seventh chords in succession to create anticipation (IIm7), tension (V7) and resolution (Imaj7). Virtually every jazz standard contains this progression.

II–V–I Major (in C)

Dm7

Secondary level

D - F - A - C

Subdominant – Preparation

Create movement away from I, prepare V

G7

Year 5

G - B - D - F

Dominant - Tension

B-F Triton creates a drive towards C

Cmaj7

Grade 1

C - E - G - B

Tonic – Resolution

A place to call home, stability, ‘home’

Songs featuring II-V-I progressions: "Autumn Leaves", "Fly Me to the Moon", "There Will Never Be Another You", "All the Things You Are"
II–V–I minor (in A minor)

Bm7♭5

Secondary level

B - D - F - A

Subdominant – Preparation

Note the ♭5 (F) instead of the perfect 5th

E7

Year 5

E - G# - B - D

Dominant - Tension

G# (natural) resolves to A

Am7

Grade 1

A - C - E - G

Tonic – Resolution

m7 instead of maj7 (minor key)

Key Difference: In the II-V-I minor progression: (1) the II degree is m7♭5 instead of m7; (2) the V7 contains the major third (G# in E7) to create a leading tone that resolves to the tonic; (3) the I degree is m7 instead of maj7.

Tritone substitution

The tritone substitution is a fundamental jazz technique: replacing a dominant 7th chord with another dominant 7th chord a tritone (6 semitones) apart. It works because the two chords share the same tritone (3rd and 7th).

Example: G7 ↔ D♭7
Original Chord: G7
  • Notes: G – B – D – F
  • Tritono: B-F (3rd and 7th)
Substitute for Triton: D♭7
  • Notes: D♭ – F – A♭ – C♭ (B)
  • Triton: F-B (3rd and 7th)
Key point: G7 and D♭7 share the same tritone (B–F), except that in G7 it is the 3rd–7th, whilst in D♭7 it is the 7th–3rd (inverted). They therefore have the same resolving function!
Practical Application: II-V-I with Tritone Sub
Original Progression

Dm7 – G7 – Cmaj7

With Tritone Sub

Dm7 – D♭7 – Cmaj7

The Basso Movement

D - D♭ - C

Descending chromatic scale!
Advantage: The sub-tritone creates a more fluid chromatic bass progression (D→D♭→C) than the fourth interval (D→G→C). It sounds more ‘sophisticated’ and jazzy.
Universal Formula

To find the subdominant tritone of any dominant 7th chord: root note + 6 semitones (or -6 semitones).

  • G7 → +6 semitones → D♭7
  • C7 → +6 semitones → G♭7
  • D7 → +6 semitones → A♭7
  • A7 → +6 semitones → E♭7

Voice Leading and Part Leadership

Voice leading is the art of guiding the individual notes of a chord towards the next one as smoothly as possible. In jazz, good voice leading creates harmonic progressions that sound natural and connected.

Basic Principles

1. General Notes

If two chords share a note, keep that note steady rather than moving it. E.g. C and Am share C and E → keep them steady.

2. Small Movements

Opt for semitone or whole-step movements rather than large leaps. Create melodic continuity between the chords.

3. Opposite Movement

When the bass rises, the higher voices should fall (or vice versa). Avoid parallel movements.

4. Toni’s Guide

The 3rd and 7th of the dominant chord (the ‘guide tones’) must resolve: 3rd → root, 7th → 3rd.

Example: II–V–I with voice leading

Dm7
C (7)
A (5)
F (3)
D (1)
→
G7
B (3) ↑1
G (1) ↓2
F (7) =
D (5) =
→
Cmaj7
C (1) ↑1
G (5) =
E (3) ↓1
C (1) ↓2

Note how the notes move by whole tones/semitones (↑1, ↓1, ↓2) or remain in the same position (=)

Voicings: Drop 2 and Drop 3

A seventh chord can be arranged in many different ways. Voicings are specific arrangements of the notes designed to make the chords playable on the piano, guitar or in an ensemble. The most important ones are Drop 2 and Drop 3.

Close Position (Tight Position)

All notes are grouped within the closest possible octave. Example: Cmaj7 close = C-E-G-B (all within the C-C octave).

Drop 2 Voicing

Play the close voicing and ‘lower by an octave’ the second note from the top. The result is a more open voicing, perfect for guitar and piano comping.

Close Position

C - E - G - B

Notes stacked within an octave

Drop 2

G - C - E - B

G (2nd from the top) is lowered by 1 octave

Usage: Drop 2 is the standard voicing for jazz guitar. It sounds full but not too dense, making it ideal for accompaniment.

Drop 3 Voicing

Lower the third note from the top by an octave. This creates an even more open voicing, often used for bass lines with harmony.

Close Position

C - E - G - B

Drop 3

E - C - G - B

E (3rd from the top) is lowered by 1 octave

Seventh chord inversions

A seventh chord has four positions: root note + three inversions. The bass note determines the inversion.

Location Note to the Bassist Notes (Cmaj7) Symbol
Essential 1 (C) C - E - G - B Cmaj7
1. Inversion 3 (E) E - G - B - C Cmaj7/E
2nd Inversion 5 (G) G - B - C - E Cmaj7/G
3rd Inversion 7 (B) B - C - E - G Cmaj7/B

Study Tips

  1. Memorise the 5 types: Play maj7, 7, m7, m7♭5 and dim7 in all 12 keys. Start with C, then F, G, D, A, E, B, and so on.
  2. Harmonise major scales: Apply the pattern Imaj7-IIm7-IIIm7-IVmaj7-V7-VIm7-VIIm7♭5 to all major keys. Write it out on paper for each key.
  3. Practise II-V-I in all keys: Play II-V-I in major and minor in all 12 keys. Use a metronome and aim for smooth voice leading.
  4. Listen to the guide tones (3rd and 7th): Play only the 3rd and 7th of each chord in a progression. These two notes define the quality of the chord.
  5. Study Drop 2 voicings: Learn Drop 2 voicings for maj7, 7, m7 and m7♭5 on all chords (for guitar) or with different inversions (for piano).
  6. Analyse jazz standards: Take ‘Autumn Leaves’, ‘Fly Me to the Moon’ and ‘Blue Bossa’, and identify all the seventh chords. Note the II-V-I progressions.
  7. Experiment with tritone substitutions: In a II–V–I progression, replace the V7 with its tritone substitute. Listen to the difference in the chromatic movement of the bass.
  8. Transcribe jazz pianists’ voicings: Transcribe the voicings of Bill Evans, McCoy Tyner and Herbie Hancock. Note how they arrange the seventh chords.

Common Mistakes to Avoid

  1. Confusing maj7 and 7 (dominant): Cmaj7 (C–E–G–B) and C7 (C–E–G–B♭) are completely different. The first is stable, the second is tense. Don’t mix them up!
  2. Omit the seventh: Do not play Dm7 as Dm (triad). The seventh (C) is essential in jazz. Playing triads in a jazz context sounds ‘incomplete’.
  3. Ignore voice leading: Don’t let the voices ‘jump’ from one chord to another. Use common notes and small movements to connect the chords smoothly.
  4. Distinguishing between m7♭5 and dim7: Bm7♭5 (B-D-F-A) and Bdim7 (B-D-F-A♭) sound similar but are different. The first has a minor 7th, the second a diminished 7th (♭♭7).
  5. Always use the same voicing: Don’t always play Cmaj7 as C-E-G-B (close). Vary your voicings (Drop 2, Drop 3, inversions) to create harmonic interest.
  6. Don’t listen for the tritone in the V7: The tritone (3rd–7th) is the ‘driving force’ of the dominant. If you can’t hear it, you won’t understand why the V7 resolves to I. Isolate it and listen for it.
  7. You might think that the dim7 chord has four different forms: there are actually only three distinct dim7 chords! Bdim7 = Ddim7 = Fdim7 = A♭dim7. Don’t memorise them as separate chords.

Summary and Next Steps

What You’ve Learnt:
  • Seventh chords have four notes (1-3-5-7) and form the basis of jazz harmony
  • The 5 main types: Maj7, 7 (dominant), M7, M7♭5, Dim7
  • The universal harmonisation pattern: Imaj7-IIm7-IIIm7-IVmaj7-V7-VIm7-VIIm7♭5
  • The II–V–I progression (major and minor) is fundamental in jazz
  • The tritone (3rd–7th of the V7) creates tension that calls for resolution
  • The tritone substitution (e.g. G7→D♭7) creates chromatic movement
  • Voice leading, Drop 2, Drop 3 for professional voicings
Next Steps:
  1. Study harmonic extensions (9, 11, 13) to enrich seventh chords
  2. Practise II-V-I progressions in all 12 keys
  3. Analysise jazz standards to see seventh chords in a real-life context
  4. Learn Drop 2 voicings on the piano or guitar for jazz accompaniment
  5. Explore the accents on dominant chords (♯9, ♭9, ♯11, ♭13)
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