Minor seventh chord
Template:Short description Template:Infobox chordIn 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, Template:Music3, 5, Template:Music7). In other words, one could think of it as a minor triad with a minor seventh attached to it.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> For example, the minor seventh chord built on A, commonly written as A−7, has pitches A-C-E-G:
- <score vorbis="1" lang="lilypond">
{ \new Staff \with{ \magnifyStaff #1.5 } \relative c' {
\override Score.TimeSignature #'stencil = ##f <a c e g>1
} } </score>
Minor/minor seventh chordEdit
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:
- In a major scale, it is on the supertonic, mediant, and submediant degrees (Template:Music, Template:Music, and Template:Music).<ref>Benward & Saker (2003), p.229.</ref> This is why the ii in a ii–V–I turnaround is a minor seventh chord (ii7).
- In a natural minor scale, it is on the tonic, subdominant, and dominant degrees (Template:Music, Template:Music, and Template:Music).<ref name="B&S">Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.230. Seventh Edition. Template:ISBN.</ref>
- In a harmonic minor scale, it is only on the subdominant degree (Template:Music).<ref name="B&S" />
- In an ascending melodic minor scale, it is only on the supertonic degree (Template:Music).<ref name="B&S" />
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".<ref name="Stephenson">Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.83. Template:ISBN.</ref>
The major sixth chord (major triad with an added major sixth) is an inversion of this chord.
Minor/major seventh chordEdit
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–ETemplate:Music–G–B:
- <score vorbis="1" lang="lilypond">
{ \new Staff \with{ \magnifyStaff #1.5 } \relative c' {
\override Score.TimeSignature #'stencil = ##f <c es g b>1
} } </score>
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.
Minor seventh as virtual augmented sixth chordEdit
Template:See also The minor seventh chord may also have its interval of minor seventh (between root and seventh degree, i.e.: C–BTemplate:Music in C–ETemplate:Music–G–BTemplate:Music) rewritten as an augmented sixth C–ETemplate:Music–G–ATemplate:Music.<ref>Ouseley, Frederick. A. Gore (1868). A Treatise on Harmony, pg. 137, Oxford, Clarendon Press.</ref> Rearranging and transposing, this gives ATemplate:Music–CTemplate:Music–ETemplate:Music–FTemplate:Music, a virtual minor version of the German augmented sixth chord.<ref>Ouseley, Frederick. A. Gore (1868). A Treatise on Harmony, pg. 143ff, Oxford, Clarendon Press.</ref> 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.<ref>Christ, William (1966). Materials and Structure of Music, v.2, p. 154. Englewood Cliffs: Prentice-Hall. LOC 66-14354.</ref>
Minor seventh chord tableEdit
The just minor seventh chord is tuned in the ratios 10:12:15:18.<ref>David Wright (2009). Mathematics and Music, p.141. Template:ISBN.</ref> {{#if:Just minor seventh chord on C.mid|{{#ifexist:Media:Just minor seventh chord on C.mid|<phonos file="Just minor seventh chord on C.mid">Play</phonos>|{{errorTemplate:Main other|Audio file "Just minor seventh chord on C.mid" not found}}Template:Category handler}}}} This may be found on iii, vi, and vii.<ref>Wright, David (2009). Mathematics and Music, p.140-41. Template:ISBN.</ref> Another tuning may be in the ratios 48:40:32:27.<ref>François-Joseph Fétis and Mary I. Arlin (1994). Esquisse de l'histoire de l'harmonie, p.97n55. Template:ISBN.</ref> {{#if:Other just minor seventh chord on C.mid|{{#ifexist:Media:Other just minor seventh chord on C.mid|<phonos file="Other just minor seventh chord on C.mid">Play</phonos>|{{errorTemplate:Main other|Audio file "Other just minor seventh chord on C.mid" not found}}Template:Category handler}}}}
Minor seventh chords for guitarEdit
In standard tuning, the left is the low E string, the number is the fret, and x means mute the string.
- Am7: x02010
- Bm7: xx7777
- Cm7: xx1313
- Dm7: xx0211
- Em7: xx0987
- Fm7: xx1111
- Gm7: xx3333<ref>{{#invoke:citation/CS1|citation
|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>