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Concept
Major seventh chord
Summary
In music, a major seventh chord is a seventh chord in which the third is a major third above the root and the seventh is a major seventh above the root. The major seventh chord, sometimes also called a Delta chord, can be written as maj7, M7, , 7, etc. The "7" does not have to be superscripted, but if it is, then any alterations, added tones, or omissions are usually also superscripted. For example, the major seventh chord built on C, commonly written as Cmaj7, has pitches C–E–G–B:
{
\override Score.TimeSignature #'stencil = ##f
\relative c' {
\clef treble
\time 4/4
\key c \major
1
} }
It can be represented by the integer notation {0, 4, 7, 11}.
According to Forte, the major seventh chord is exemplified by IV7, which originates melodically.
{
\override Score.SpacingSpanner.strict-note-spacing = ##t
\set Score.proportionalNotationDuration = #(ly:make-moment 1/6)
\new PianoStaff < \new Staff < \new Voice \relative c'' {
\stemUp \clef treble \key c \major \time 4/4
f4 e d2
}
\new Voice \relative c'' {
\stemDown
\new Staff < \relative c {
\clef bass \key c \major \time 4/4
f2_\markup { \concat { "IV" \hspace #1 "IV" \super \column { "7" } \hspace #1 "V" } }
g
}
} The just major seventh chord is tuned in the ratios 8:10:12:15, as a just major chord is tuned 4:5:6 and a just major seventh is tuned 15:8. The minor-minor sixth chord (minor triad with an added minor sixth) is an inversion of this chord. In 1888, the French composer Erik Satie composed three slow waltzes, entitled Gymnopédies. The first and best-known of these alternates two major seventh chords. The first eight measures (shown below) alternate between Gmaj7 and Dmaj7. \new PianoStaff < \new Staff < \new Voice \relative c'' { \clef treble \key d \major \time 4/4 \tempo "Lent et douloureux" \voiceOne R2. R2. R2. R2. r4 fis( a g fis cis b cis d a2.) } \new Voice \relative c' { \override DynamicLineSpanner.staff-padding = #2 \voiceTwo \stemUp \crossStaff { \override Stem.
Official source
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