Minor triad + minor seventh (e.g., ii–7). Versatile in tonal and modal contexts.
Minor Seventh Chord
The Minor Seventh (m7) chord is one of the most expressive and versatile sounds in modern harmony.
It combines the dark, emotional quality of the minor triad with the smooth sophistication of the minor seventh.
This creates a sound that is simultaneously warm, melancholic, and soulful — foundational in jazz, blues, R&B, pop, and film music.
Structure
A Minor Seventh chord is built by stacking a minor triad with a minor seventh above the root.
Formula:
Root – Minor 3rd – Perfect 5th – Minor 7th
Semitone steps from root: 0 – 3 – 7 – 10
Example (A Minor Seventh):
A – C – E – G
| Interval | Distance | Note | Function |
|---|---|---|---|
| Root | 0 | A | Tonal center |
| Minor 3rd | +3 | C | Defines minor color |
| Perfect 5th | +7 | E | Adds balance and stability |
| Minor 7th | +10 | G | Adds warmth and depth |
Interval Structure (Stacked Thirds)
| From | To | Interval | Size | Effect |
|---|---|---|---|---|
| Root → 3rd | Minor 3rd | 3 semitones | Establishes minor tonality | |
| 3rd → 5th | Major 3rd | 4 semitones | Provides fullness | |
| 5th → 7th | Minor 3rd | 3 semitones | Adds mellow tension | |
| Root → 7th | Minor 7th | 10 semitones | Gentle dissonance, open sound |
The minor seventh interval is less dissonant than a dominant seventh — it adds color without creating a need for immediate resolution.
Roman Numeral Function
| Scale Degree | In Major Key | In Minor Key | Function |
|---|---|---|---|
| ii7 | Dorian function | – | Pre-dominant, leads to V7 |
| iii7 | Mediant area | – | Color chord, weak function |
| vi7 | Relative minor | i7 | Tonic substitute |
| i7 | – | Tonic (minor key) | Warm, stable base |
Minor sevenths are key components of ii–V–I progressions (e.g., Dm7–G7–Cmaj7) and appear frequently as tonic chords in minor keys.
Inversions
| Inversion | Notes (Amin7) | Symbol | Bass Note | Function |
|---|---|---|---|---|
| Root Position | A–C–E–G | Am7 | A | Full, balanced sound |
| 1st Inversion | C–E–G–A | Am7/C | C | Smooth connection to nearby chords |
| 2nd Inversion | E–G–A–C | Am7/E | E | Useful in passing bass lines |
| 3rd Inversion | G–A–C–E | Am7/G | G | Softer, floating quality |
Sound and Character
- Mood: introspective, soulful, atmospheric
- Color: dark yet smooth; evokes intimacy and sophistication
- Function: can act as tonic (i7), pre-dominant (ii7), or part of modal progressions
- Cadence role: less final than major seventh, often used for modal or cyclic harmony
The m7 chord feels emotionally complex — minor sadness infused with warmth and humanity.
Common Progressions
| Progression | Function | Example (in C) |
|---|---|---|
| ii7 – V7 – Imaj7 | Jazz standard | Dm7 – G7 – Cmaj7 |
| i7 – iv7 | Modal minor | Am7 – Dm7 |
| Imaj7 – vi7 – ii7 – V7 | Circle of fifths | Cmaj7 – Am7 – Dm7 – G7 |
| vi7 – ii7 – V7 | Pop sequence | Am7 – Dm7 – G7 |
Real-World Examples
| Song | Artist | Chord Use |
|---|---|---|
| “So What” | Miles Davis | Dm7 vamp – modal jazz archetype |
| “Ain’t No Sunshine” | Bill Withers | Am7 groove defines song mood |
| “Creep” | Radiohead | Em7 and Gmaj7 pairings for melancholy tone |
| “Sexual Healing” | Marvin Gaye | Smooth m7 chords throughout |
| “Summertime” | Gershwin | i7–iv7 minor tonality |
Application Tips
- To create one: take a minor triad and add a note a minor seventh above the root.
- In jazz, minor sevenths are everywhere — the ii7 in ii–V–I is almost always m7.
- On guitar, Am7, Dm7, and Em7 shapes are essential for blues and soul comping.
- Extend with 9ths or 11ths for richer voicings (Am9, Dm11).
Summary
| Attribute | Value |
|---|---|
| Formula | 1 – ♭3 – 5 – ♭7 |
| Semitones | 0 – 3 – 7 – 10 |
| Tonality | Minor |
| Emotional Color | Warm, smooth, soulful |
| Function | Tonic or pre-dominant |
| Inversions | Four possible |
| Common Progressions | ii7–V7–I, i7–iv7 |
| Used In | Jazz, pop, soul, blues, R&B, film music |