Seventh chords add a fourth note to the triad by stacking another third on top of the 5th. This fourth note -- the 7th -- adds richness, complexity, and harmonic direction that triads alone cannot provide. Seventh chords are the foundation of jazz harmony and are used extensively in pop, R&B, classical, and virtually every other genre.
While triads give you the basic major/minor distinction, seventh chords add a new dimension: they create pull. A dominant 7th chord pulls strongly toward its resolution. A major 7th chord sounds settled but lush. Understanding these five types of seventh chords will dramatically expand your harmonic vocabulary.
A seventh chord is simply a triad with one more note stacked on top. The type of triad (major, minor, or diminished) combined with the type of 7th (major, minor, or diminished) produces five commonly used seventh chord types. Think of it as a formula: Triad + 7th = Seventh Chord.
Three stacked thirds = four-note seventh chord
Lush, dreamy, sophisticated
The major 7th chord is a major triad with a major 7th added on top. The major 7th interval (11 semitones) sits just one semitone below the octave, creating a sweet, slightly dissonant tension that gives the chord its characteristic dreamy quality. It sounds "complete" and polished, like a major triad that has been elevated to something more refined.
Construction
Major triad (R, M3, P5) + Major 7th (11 semitones)
Where you hear it
Warm, mellow, relaxed
The minor 7th chord adds a minor 7th (10 semitones) to a minor triad. This creates one of the most commonly used chords in jazz, funk, and R&B. The minor 7th softens the darkness of the minor triad, making it feel more approachable and less stark. It is the default chord for the "ii" (two) degree in jazz harmony.
Construction
Minor triad (R, m3, P5) + Minor 7th (10 semitones)
Where you hear it
Bluesy, driving, wants to resolve
The dominant 7th chord combines a major triad with a minor 7th (10 semitones). This creates a unique tension: the brightness of the major 3rd clashes with the flatted 7th, producing a chord that strongly wants to resolve down a 5th (the V-I resolution). The interval between the 3rd and the 7th is a tritone, the most dissonant interval, which is what drives the chord toward resolution.
Construction
Major triad (R, M3, P5) + Minor 7th (10 semitones)
Where you hear it
Dark, mysterious, dramatic
The minor major 7th chord combines a minor triad with a major 7th — an unusual pairing that creates a dark yet sophisticated sound. The minor 3rd provides sadness while the major 7th adds an unexpected brightness that creates tension. It is rare but unforgettable when used.
Construction
Minor triad (R, m3, P5) + Major 7th (11 semitones)
Where you hear it
Dark, tense, questioning
The minor 7th flat-5 (also called half-diminished) takes a diminished triad and adds a minor 7th. It is "half" diminished because only the 5th is diminished -- the 7th is a minor 7th rather than a diminished 7th. This chord has a dark, unsettled quality that makes it perfect for creating tension. In jazz, it is the standard "ii" chord in minor keys.
Construction
Diminished triad (R, m3, dim5) + Minor 7th (10 semitones)
Where you hear it
Extremely tense, symmetrical, chromatic
The diminished 7th chord stacks three minor 3rds on top of each other, creating a perfectly symmetrical structure. Every note is exactly 3 semitones apart. This symmetry means the chord can resolve in multiple directions, making it incredibly versatile for modulation. It sounds unstable and dramatic, often used for climactic moments in classical and film music.
Construction
Diminished triad (R, m3, dim5) + Diminished 7th (9 semitones)
Where you hear it
Tense, unstable, exotic
The augmented 7th chord adds a minor 7th to an augmented triad. The augmented 5th already creates instability, and the minor 7th adds dominant function. This chord wants to resolve and is commonly used as an altered dominant in jazz.
Construction
Augmented triad (R, M3, aug5) + Minor 7th (10 semitones)
Where you hear it
Bright, ethereal, otherworldly
The augmented major 7th chord combines an augmented triad with a major 7th. This creates a floating, almost surreal quality — the raised 5th pushes upward while the major 7th adds lushness. It is used sparingly but creates magical moments.
Construction
Augmented triad (R, M3, aug5) + Major 7th (11 semitones)
Where you hear it
Choose any root and any seventh chord type. Hear the full chord, arpeggiate it, or listen to individual chord tones. Try the "Triad then 7th" button to hear how the 7th extends the triad.
Root Note
CMaj7
Notes: C -- E -- G -- B
Root + M3 (4) + P5 (7) + M7 (11)
Just as triads are built on each degree of the major scale, so are seventh chords. Each degree naturally produces a specific seventh chord type. This pattern is the same in every key.
| Degree | Symbol | 7th Type | In C | Function |
|---|---|---|---|---|
| I | IMaj7 | Major 7th | CMaj7 | Tonic (home) |
| ii | iim7 | Minor 7th | Dm7 | Predominant |
| iii | iiim7 | Minor 7th | Em7 | Tonic substitute |
| IV | IVMaj7 | Major 7th | FMaj7 | Subdominant |
| V | V7 | Dominant 7th | G7 | Dominant (tension) |
| vi | vim7 | Minor 7th | Am7 | Tonic substitute |
| vii | viim7b5 | Half-diminished | Bm7b5 | Leading tone |
The dominant 7th chord contains a tritone (6 semitones) between its 3rd and its 7th. In G7, for example, B (the 3rd) and F (the 7th) are exactly 6 semitones apart. This tritone is the most dissonant interval and is the engine that drives the chord toward resolution. The B wants to resolve up to C, and the F wants to resolve down to E, pulling the entire chord toward CMajor.
This tritone resolution is the most fundamental harmonic motion in Western music. When you understand why V7 resolves to I, you understand the core of tonal harmony. Every chord progression that feels satisfying relies on some form of this tension-resolution pattern.
| Type | Symbol | Intervals | Formula | Sound |
|---|---|---|---|---|
| 🌟Major 7th | Maj7 | [0, 4, 7, 11] | Major triad (R, M3, P5) + Major 7th (11 semitones) | Lush, dreamy, sophisticated |
| 🌙Minor 7th | m7 | [0, 3, 7, 10] | Minor triad (R, m3, P5) + Minor 7th (10 semitones) | Warm, mellow, relaxed |
| 🔥Dominant 7th | 7 | [0, 4, 7, 10] | Major triad (R, M3, P5) + Minor 7th (10 semitones) | Bluesy, driving, wants to resolve |
| 🌑Minor Major 7th | m(Maj7) | [0, 3, 7, 11] | Minor triad (R, m3, P5) + Major 7th (11 semitones) | Dark, mysterious, dramatic |
| 🌑Minor 7th (b5) | m7(b5) | [0, 3, 6, 10] | Diminished triad (R, m3, dim5) + Minor 7th (10 semitones) | Dark, tense, questioning |
| ⚡Diminished 7th | dim7 | [0, 3, 6, 9] | Diminished triad (R, m3, dim5) + Diminished 7th (9 semitones) | Extremely tense, symmetrical, chromatic |
| 🔥Augmented 7th | aug7 | [0, 4, 8, 10] | Augmented triad (R, M3, aug5) + Minor 7th (10 semitones) | Tense, unstable, exotic |
| ✨Augmented Major 7th | aug(Maj7) | [0, 4, 8, 11] | Augmented triad (R, M3, aug5) + Major 7th (11 semitones) | Bright, ethereal, otherworldly |
Tip: The easiest way to remember these is by their parent triads. Major 7th = major triad + major 7th. Minor 7th = minor triad + minor 7th. Dominant 7th = major triad + minor 7th (this mismatch is what creates the tension). Half-diminished = diminished triad + minor 7th. Diminished 7th = diminished triad + diminished 7th.