Digital Piano Maj 7 Chord: Resolved or Not / Consonant or Dissonant?
A major seventh note “colors” the sound of a major triad, but does not fundamentally change it – both the major chord, and the major seventh are “at rest” and with no tension. To my ears, a sixth chord, (1,3,5,6) has a
similar quality, at rest, no tension.
Flatting the major seventh creates the dominant seventh, and this type of chord does have tension. It wants to resolve up a fourth. It is also ripe for adding altered tones (b5, #5, b9,#9, etc). Of course in blues and rock, it is often used instead of major chords, and we are accustomed to hearing it this way.
I categorize chords into three types:
Major: which includes majors, major sevenths, sixths, add 9s, basically anything with a root, and major 3rd, and WITHOUT a flat seven.
Minors: Anything with a root and flat third, this could include minor seventh chords, and all additions to a minor triad.
Dominant Sevenths: Root, 3rd, and flat 7th – to this triad can be added a whole host of possibilities, like the altered tones mentioned above.
I see all chords as a member of one of these three groups, with the exception of augmented and diminished chords – these chords could actually be seen as an alteration of any of the three groups above… for me its
much easier to organize them mentally by just considering them as a family of their own.
I think that for many students, chords are shrouded in mystery, when the theory is really quite simple. Most Popular tunes, no matter how complex, can be reduced to major, minor and Dominant seventh chords – and
diminished chords can be created by raising the root of a dominant seventh, and aug chords by raising the fifth. Using this approach, even a harmonically challenging progression like “All The Things You Are,” or
“Bluesette” can be much easier understood and started. Once the basics are understoond, the chords can be fattened up, or sweetened, etc.
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>The reviewer on Steve Chandler’s compositions mentioned he gets tired of too many major 7th chords (don’t remember exact words).
This made me wonder – do other people feel the same way?<
When I studied harmony I was taught to use any 7th chords sparingly. This is because the 7th loses it’s effect if used too often.
When I began studying jazz I found this to be true of many jazz composers/arrangers/pianists. When I arrange I tend myself to use too many 7ths chords. 6ths, 9ths and 13ths make for a nice change.
We think of a major 7th chord as a product of at least the romantic period or 20th Century composing, but we can find Maj. 7′s in Bach too, quite often.
The major seventh softens the tone of a major chord, gives it a cozy warmth, in many cases.
I think I was about 12 when I discovered the major 7th chord, and this being the early 60′s or so when a lot of pop music was using it.
I think I was about 12 when I discovered the major 7th chord, and this being the early 60′s or so when a lot of pop music was using it.
Carol King sure used the Major 7th lots!
excellent that you put it this way. I had just recently read something very similar in a Jazz theory book, and despite quite a lot of exposure to Jazz and all those cool chords in the past, it’s only recently I’ve really been trying to understand this from the bottom up (and getting those cool “a ha” moments). Thanks for helping to solidify that insight.