Learn the different kinds of seventh chords found in jazz in this free tutorial, perfect for novice musicians as well as anyone wanting a greater grasp on basic jazz harmony.
These triads can be personalized by making various alterations and extensions, giving them more character than the standard voicings found in common practice tonality.
Major Seventh
The major seventh chord is an integral component of jazz harmony, adding tension and dissonance that can accentuate soloist performances for greater drama. Furthermore, jazz musicians can use major seventh chords to construct more complex harmonic structures than triads alone.
This chord, comprised of notes one, flat three and five is commonly known by its abbreviation’min7b5′ and can serve as the (iii7) or (iv7) chord in minor keys – it even functions well when played as part of a modal tune!
As an essential skill for all jazz players, knowing how to build and identify chords quickly is of utmost importance. Make the most out of every opportunity! Spend as much time practicing these shapes as possible!
Minor Seventh
A minor seventh chord consists of a minor triad with the addition of a flat seven interval above its root, making for an uncommon yet beautiful sounding chord, typically used in minor II-V progressions and known by its shorthand abbreviation min7b5.
This chord also contains an added ninth, notated as (CmMa7) or Cm6/9. You might recognize this symbol from some jazz tunes’ chord charts.
This chord functions as the second chord in a major key and there are entire modal tunes like Impressions that use it exclusively. These chords can have an extremely distinctive sound that is perfect for expanding your harmonic vocabulary.
Dominant Seventh
When a jazz standard doesn’t specify a dominant seventh chord explicitly, improvisers and comping instruments must interpret its symbol to create a chord voicing which best serves its function. While this may sound complex at first, when looked at more closely most dominant seventh voicings can actually be quite straightforward.
However, it can be challenging to grasp how different forms of dominant seventh chords are composed and which scale options they imply or suggest. To aid your understanding, we have created a subway map of altered dominant seventh chords (augmented 7th and diminished 7th) as well as their altered pitches. It gives a visual representation of these altered harmonic relationships between 4 “altered” pitches that represent altered dominant seventh chords (augumented and diminished 7th) chords.
Half-Diminished Seventh
Half diminished seventh chords (commonly known as minor 7 flat 5) are an easy and dynamic way to add tension and flavor to a progression. Their moveable shape can be played all across the neck without difficulty.
The final refrain features bass support that is close chromatic relative to a half-diminished seventh, maintaining plural dominant implications in E’s temporary key area while signaling its shift into B as tonic, an extension achieved via plagal means and melodic descent across its leading tone.
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Fully Diminished Seventh
The fully diminished seventh chord is an intense chord whose sound tends to resolve quickly down towards its tonic note. While viio6 chord uses only one tritone to resolve down, fully diminished chord uses both, necessitating careful voice leading.
These chords are known as Gdim7, Bdim7, and Ddim7 but it’s important to keep in mind that their intervals always correspond with minor thirds (and can therefore be moved up or down by three frets), making them what are known as “symmetric chords.”
One unique characteristic of these chords is their versatility in spelling; for instance, Cdim7 and Edim7 both share similar intervals – an example of symmetry’s benefits in jazz harmony.