Maj7 (Major 7) Example
So let's go back to our diatonic chord progression here now and let's just redraw it. Then we're gonna add the seventh and see how everything shakes out. So here's my one chord, right? Here's my two Chord is my three chord. Here's my four chord Five chords Put it there. Six chord, My seventh chord The weird one And then we're back to our one quart. Okay, let me just stretch all of these out. Okay, let's zoom out Just a hair so we can see that better. Okay, so here's our diatonic chord progression again with thirds. Right? So now we remember our pattern, right? This is gonna be a major chord. Minor chord, minor chord, Major Major, minor diminished. And then we're back to the one chord from Major. So let's see how that changes when we add our seventh. Now, whether or not the court is major or minor is not going to change, because remember, that's all in the third. We're not changing. The third were adding a note. So if we go up and add another note, let me just go through and do it here.
So thistles gonna be our seventh tone of each chord. Uh uh. Okay, so this 1st 1 has that nice, soothing kind of sound to it, Not the way I displayed it there. It sounded clunky, but, um so this is a major seventh chord. The zoo mounts the hair more here, get this on the screen. That should work. So this is a major seventh chord. So I can tell because it's a major chord with a major seven. Now, to tell the quality of the seven, there's two ways I can do it. One is I can look at its different its distance from the fifth. And thats in this case is a major third because as 5/2 steps in it, So that's gonna be a major seventh chord. Another way in the slightly more accurate way will be to look at its different, its distance from the root. So from here to here is a major seventh. And there's ah, quick way to tell if you're on a major seventh in that amount of distance and that is toe look at its distance from the next route up. Right, so we know it's a major seventh. If we're 1/2 step away from the root again in Octave Higher, right? So this is a quick way to tell for a major seven. Let's look at the next one. So this is our two chord. So this is minor. But what is our seventh? Well, here's the Route D. The next D is here, and it's a whole step away, so that means things is a minor seventh. We can also check the distance between the fifth and the seventh to tell us that's a minor. Seventh court took the next one e g b. That's our minor three Triad with 1/7 on it. This one is a minor third away from the fifth, and our route and octave higher would be right there, which there's a whole step there. So that means it must be a minor seventh court as well. Moving on our F is a major court because of our diatonic chord progression. We know that that's major. Our seventh is from here to here a major third, and our roots oven f would be an octave higher right there, and there's that's only 1/2 step away, so we know that this must be a major seventh. Another one of the really pretty ones. Now the fifth. The five court is where we get that were dominant situation where we have a minor or sorry, a major triad, but a minor seventh. That's just what is naturally occurring, and we call that a dominant chord or just a shorthand is 1/7 chord When we talk about 1/7 chord, the kind of common lingo we use is if it's a major seventh chord, rewrite this M A J seven. It's a minor seventh chord. We write this lower case M and then a seven. If it's a dominant chord like this, we just write the letter or the number seven after the ah court name. So in this case, we would write G seven, meaning that it's a G major triad with a minor seventh on it. Okay, so that's the one exception. That's the one place in the scale that that's going to show up. Let's move on. Our six chord is a minor chord, and it has a minor seventh on it. The route would be here if we took it up Inactive R B chord. This is our diminished chord, right? So this is a minor Actually, this is a major triumph. So this this one is just all kinds of weird. So let's just continue to call this diminished. But we'll call it a diminished seven in this case because what we have is a minor triad with that major third, Um, but it's a major third here, but it's a minor third here, right? So that's just all kinds of weird and goofy, and it sounds ugly, so we don't often use it in popular music Are electronic music are really very much We tend to avoid this like the plague. Um, it's just not very useful for us. So file that one away. For now, we're still gonna call it a diminished chord. Let's call it a diminished seventh chord. Let's do it. Let's hear it. I'm gonna get rid of all our sevenths. Okay, let's get rid of those in here it and then we'll play it a second time and I'll put the seventh back in. So here it is without the Seventh Way. Theo. Here it is with the seventh so you can hear hopefully that the cord quality is unaffected. It's still a major or a minor chord, adding the seventh just gives it a little more color, right? So more colorful. It sounds a little bit more jazz like to me. Um, cords that use a lot of sevens or music that uses a lot of seventh chords tends to be have a more jazz flavor to it s so if you want that kind of sound at a bunch of seventh chords to your harmony Ah, if you don't want that kind of sound, don't. Now there is a special reason why we might use this dominant chord. So I want to put that into a little bit of context. Ah, and focus on that quickly. So let's do that in the next video.