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Chord of the Week: minor-major 7's
This week’s chord is the minor-major 7 form.
For the key let’s choose Ab major. We will change the relative minor 6th chord, Fm7, into its minor-major 7 version. Initially the Fm7 is already a minor chord with a dominant 7.
F-root
Ab-m3
C-5
Eb-7
Fm7
E) x - - - - - - - - - - - - - - - - F-root
B) x - - - - - - - - - - - - - - - - C-5
G) x - - - - - - - - - - - - - - - - Ab-m3
D) x - - - - - - - - - - - - - - - - Eb-7
A) - - - - - - - - - - - - - - - - - mute
E) - - - - - - - - - - - - - - - - - mute
To make it a mmaj7 chord we raise the dominant 7 up a half step from Eb to E, to its maj7 form. The m3 however remains a m3.
The new notes we get are:
F-root
Ab-m3
C-5
E-maj 7
FmMaj7
E) - - - - - - - - - - - - - - - - - E-maj7 (open)
B) x - - - - - - - - - - - - - - - - C-5
G) x - - - - - - - - - - - - - - - - Ab-m3
D) - - x - - - - - - - - - - - - - - F-root
A) - - - - - - - - - - - - - - - - - mute
E) - - - - - - - - - - - - - - - - - mute
Now suppose we choose to not play the root (F) and use the maj7 (E) as the bass note. We get E,Ab,C,E which is the same as an E+ chord. Minor-major 7 chords may be thought of and serve the same function as augmented chords. Any mmaj7 chord can function as an augmented chord.
Each of the three associated augmented chord is always derived from the remaining notes of the original mmaj7 chord. That is,
Fmmaj7 = Ab+ (m3) or C+ (5) or E+ (maj7).
Ammaj7 = C+ (m3) or E+ (5) or Ab+ (maj7).
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Emmaj7 = G+ (m3) or B+ (5) or Eb+ (maj7).
Cmmaj7 = Eb+ (m3) or G+ (5) or B+ (maj7).
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Gmmaj7 = Bb+ (m3) or D+ (5) or Gb+ (maj7).
And so on and so on.
Fmmaj7 = C+, E+, Ab+ with roots on fret 3, 7 and 11
E) - - - - - - - - - - - - - - - - - mute
B) x - - - x - - - x - - - - - - - -
G) x - - - x - - - x - - - - - - - -
D) - x - - - x - - - x - - - - - - -
A) - - x - - - x - - - x - - - - - -
E) - - - - - - - - - - - - - - - - - mute
The above form is the easiest shape for me to hold and move up or down on the neck with. Once you get the hang of it and understand how the relationships fit, mmaj7 chords are somewhat less mystifying.
This is a useful relationship to know. Minor-major 7 chords can be used as endings for songs in minor keys. For example, if you are playing a song in the key of F minor, instead of ending on an Fm, end on an Fmmaj7 or E+, C+, Ab+ for a more dramatic or emphasized minor sounding effect. There are several other handy uses for mmaj7 chords as well.
For example, in the tune "There Will Never Be Another You" I often substitute a G+7 chord in bars 10 and 26 for the Fm7b5/Bb7 chords and get an equally pleasing effect.
Another You – (bars 9 and 25) – Abmaj7
E) - - x - - - - - - - - - - - - - - G-maj7
B) - - - x - - - - - - - - - - - - - Eb-5
G) - - - - x - - - - - - - - - - - - C-3
D) - - - - - x - - - - - - - - - - - Ab-root
A) - - - - - - - - - - - - - - - - - mute
E) - - - - - - - - - - - - - - - - - mute
Another You – (bars 10 and 26) – G+7
E) - - x - - - - - - - - - - - - - - G-root
B) - - - x - - - - - - - - - - - - - Eb-aug5
G) - - - x - - - - - - - - - - - - - B-3
D) - - x - - - - - - - - - - - - - - F-7
A) - - - - - - - - - - - - - - - - - mute
E) - - - - - - - - - - - - - - - - - mute
Another You - Sounds Like:
Another You - Chords (bars 10 and 26)
Without getting into an outright discussion of augmented chords and the many functions they serve, this shows one of the useful relationships between them and other chord forms. You will run into mmaj7 chords frequently in jazz but they are nothing to be intimidated by.
Here's an example of an Fmmaj7 being used to end a song in Fm (Ab major). Just fast forward to very end of song to hear it.
The Hobgoblin's Ball
Sorry for the shameless plug. It's a tune I wrote off my CD, but it IS useful.
Last edited by Algernon; 10-10-2003 at 11:08 AM.
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mM7 song examples
Howdy Algernon!
A few notable songs which use the min-Major-7th chord are:
Summertime
A Taste of Honey
Chim-Chim-Cheree (Mary Poppins)
Michelle
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