Major seventh chord
The major seventh chord: a major triad with a major seventh added. It sounds bright and settled, with a slight colour, and it is a common tonic. Spelled in all twelve keys, with guitar shapes and piano diagrams.
On C
- Symbol
- Cmaj7
- Formula
- 1 3 5 7
- Notes
- 4
- Also written
- CM7 · CΔ7 · CΔ
What it sounds like
Cmaj7 is C, E, G and B: a major triad with a major seventh added. The seventh, B, sits eleven semitones above the root, a semitone below the octave. Because it rubs against the root without needing to resolve, the chord often sounds at rest. The chord keeps the major third and perfect fifth, so its triad is stable. The seventh adds brightness and a gentle tension, and the chord sounds settled but coloured.
How it is used
The major seventh is most often the tonic, Imaj7, in major keys, and the subdominant, IVmaj7. In jazz, Imaj7 is a common final chord, and in pop and soul it gives a warm colour to I and IV. The chord rarely acts as a dominant. It typically moves to a subdominant or to vi, which shares C and E with it. The seventh does not push toward a lower chord tone, so the chord works as a resting point.
How it is built
The major seventh is a root with a major third, a perfect fifth and a major seventh, 0, 4, 7 and 11 semitones above the root. Common symbols are Cmaj7, CM7, CΔ7 and C△7. The triangle sign Δ is common in jazz charts, and M is common in printed harmony. The first inversion is Cmaj7/E, the second is Cmaj7/G, and the third has B in the bass. The seventh is always spelled B, never B♭, since a major seventh sits eleven semitones above the root.
How to practise it
Play Cmaj7, then C7, and listen to the one-semitone change in the seventh that turns the tonic into a dominant. Next play Cmaj7 and then Fmaj7, where the E is the major seventh of the subdominant. Then play Dm7, G7 and Cmaj7 as a ii-V-I, and hear how the major seventh settles the cadence.
Major seventh chord in every key
Every chord is spelled by letter name. Click a symbol for its page, with inversions and guitar shapes.
| Chord | Notes | Hear it |
|---|---|---|
| Cmaj7 | C E G B | |
| C♯maj7 | C♯ E♯ G♯ B♯ | |
| D♭maj7 | D♭ F A♭ C | |
| Dmaj7 | D F♯ A C♯ | |
| E♭maj7 | E♭ G B♭ D | |
| Emaj7 | E G♯ B D♯ | |
| Fmaj7 | F A C E | |
| F♯maj7 | F♯ A♯ C♯ E♯ | |
| G♭maj7 | G♭ B♭ D♭ F | |
| Gmaj7 | G B D F♯ | |
| A♭maj7 | A♭ C E♭ G | |
| Amaj7 | A C♯ E G♯ | |
| B♭maj7 | B♭ D F A | |
| Bmaj7 | B D♯ F♯ A♯ |
Further reading
- Seventh Chords and How They Resolve in Tonal HarmonyHarmony · 7 min
- Chord Symbols Explained: Major, Minor, Seventh and Slash ChordsHarmony · 8 min
- Jazz Chord Voicings: Shell and Rootless Voicings ExplainedJazz & Popular Harmony · 7 min
Questions
Why does Cmaj7 sound more relaxed than C7?
Cmaj7 has a major seventh, B, which sits a semitone below the octave and rests against the root. C7 has a minor seventh, B♭, which is a dissonance that pulls toward a fourth-related tonic. Without that pull, Cmaj7 sounds settled and relaxed, so it works as a home chord.
What is the difference between Cmaj7 and Cadd9?
Cmaj7 is C, E, G and B. Cadd9 is C, E, G and D. The seventh in Cmaj7 sits a semitone below the octave, while the ninth in Cadd9 sits a whole step above it. Cmaj7 is therefore the more coloured of the two, since its seventh rubs against the root, while Cadd9 keeps a plainer triad sound.
Is Cmaj7 the same as Am7?
No. Cmaj7 is C, E, G and B. Am7 is A, C, E and G. They share C, E and G, so the chords are close relatives. Cmaj7 adds B, the major seventh, and Am7 has A as its root. The root decides the chord's name and its function.