Now that you know all your basic 7 chords, it's time to learn your Major 7 chords. Some symbols for a C Major 7 chord are C(triangle)7, CM7, or Cmaj7.
There are a few acceptable ways to come up with a Major 7 chord, and you can decide which works best for you depending on how it fits in your hand, which one you can remember most easily, and how it fits best in the song you are playing, the range of the inversion (remember, you have to stay between D below middle C and A above middle C), and most importantly, which sound you like best!
Method 1:
Play a Major Chord (CEG)
Add a Major 3rd on top of it (CEGB)
Invert it once to A Position (EGBC)
Raise the Root (C) a whole step (EGBD). This turns your root into a 9th.
Lower your 7th (B) a whole step (EGAD). This turns your 7th into a 6th, but we're going to call it a 13th now. So what you have WORKS like a Major 7 chord (even though there is technically no root or 7th in it!), but it's really a C 9 13 chord. In a jazz book, the 13 would be written above the 9 in the chord symbol.
I am using method 1 for CM7, DM7, EM7, DbM7, and EbM7
Method 2:
Play a Major chord (FAC)
Add a major 3rd on top of it (FACE)
Take the top note and put it on the bottom (EFAC)
Raise the Root (F) a whole step (EGAC). This turns your Root into a 9th.
Raise the 5th (C) a whole step (EGAD). This turns your 5th into a 6th, but again, we'll call it a 13. Again, this WORKS like a Major 7 chord, even though there is technically no root or 7th in it, but it's really an F 9 13 chord. Did you notice that it is spelled just like the CM7? I don't know why these two chords are spelled the same even though they can be used in different ways. But that's one less chord to learn.
I'm using method 2 with FM7, F#M7, AbM7, GM7, and AM7
Method 3:
Play a Major chord (BbDF)
Add a Major 3rd on top (BbDFA)
Invert it once into A Position (DFABb)
Raise the 5th one whole step (DGABb). This makes your 5th a 13th.
Raise your Root one whole step (DGAC). This makes your Root a 9th.
Again, this chord has no root or 7th, but it WORKS like a Major 7 chord. It is technically a Major 9 13 chord.
I am using method 3 with BbM7 and BM7.
Figure out which inversions will fit in your D-A range, and again, choose which sound you like best within that range.
Subscribe to:
Post Comments (Atom)
1 comment:
I just figured out a much easier way to play the Major 7 voicing. You can either start on the 7th or the 3rd degree of the key of the chord you are playing. For example, if you are playing a CM7 chord, you could either start on B or on E. Build a minor 3rd on that note. Then, play a perfect 4th connected to your minor 3rd by a Major 2nd. Either EGAD (3, 5, 13, 9) in position A, or BDEA (7, 9, 3, 13) for a CM7 in position B. This way, you only have to know one shape for the chord, whether you play it with the 3rd or the 7th in the bass.
Post a Comment