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| {{Refimprove|date=November 2012}}
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| [[Image:Dominant seventh chord on C.png|thumb|right|225px|Dominant seventh chord on C {{audio|Dominant seventh chord on C.mid|Play}}.]]
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| A '''seventh chord''' is a [[chord (music)|chord]] consisting of a [[triad (music)|triad]] plus a note forming an [[interval (music)|interval]] of a [[seventh]] above the chord's [[root (chord)|root]]. When not otherwise specified, a "seventh chord" usually means a [[dominant seventh chord]]: a [[major triad]] together with a [[minor seventh]]. However, a variety of sevenths may be added to a variety of triads, resulting in many different types of seventh chords, as described below.
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| In its earliest usage, the seventh was introduced solely as an [[nonchord tone|embellishing or nonchord tone]]. The seventh destabilized the triad, and allowed the composer to emphasize movement in a given direction. As time passed and the collective ear of the western world became more accustomed to [[Consonance and dissonance|dissonance]], the seventh was allowed to become a part of the chord itself, and in some modern music, and jazz in particular, nearly every chord is a seventh chord. Additionally, the general acceptance of [[equal temperament]] during the 19th century reduced the dissonance of some earlier forms of sevenths.
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| [[Image:Seventh chords frequency.png|thumb|center|400px|"A ranking by frequency of the seventh chords in major would be approximately that shown."<ref>Kostka & Payne (1995). ''Tonal Harmony'', p.225. Third Edition. ISBN 0-07-300056-6.</ref>
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| <br/>{{audio|Dominant seventh chord V7 in C.mid|Play V<sup>7</sup>}} ([[#Dominant seventh chord|Dominant]]), {{audio|Minor seventh chord on d ii7 in C.mid|ii<sup>7</sup>}} ([[#Major and minor seventh chords|Minor]]), {{audio|Leading-tone seventh chord in C major.mid|vii{{music|halfdim}}<sup>7</sup>}} ([[#Half-diminished seventh chord|Half-diminished]]), {{audio|Major seventh chord on F.mid|IVM<sup>7</sup>}} ([[#Major and minor seventh chords|Major]]), {{audio|Minor seventh chord on a vi7 in C.mid|vi<sup>7</sup>}}, {{audio|Major seventh chord on C.mid|IM<sup>7</sup>}}, or {{audio|Minor seventh chord on e iii7 in C.mid|iii<sup>7</sup>}}.]]
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| ==Types of seventh chords==
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| Most textbooks name these chords ''formally'' by the type of triad and type of seventh; hence, a chord consisting of a major triad and a minor seventh above the root is referred to as a major/minor seventh chord. When the triad type and seventh type are identical (i.e. they are both major, minor, or diminished), the name is shortened. For instance, a ''major/major'' seventh is generally referred to as a '''major''' seventh. This rule is not valid for augmented chords: since the augmented/augmented chord is not commonly used, the abbreviation '''augmented''' is used for ''augmented/minor'', rather than ''augmented/augmented''. Additionally, '''half-diminished''' stands for ''diminished/minor'', and '''dominant''' stands for ''major/minor''. When the type is not specified at all, the triad is assumed to be major, and the seventh is understood as a minor seventh (e.g. a "C" chord is a "C major triad", and a "C7" chord is a "[[Dominant seventh chord|C major/minor seventh chord]]", also known as a "C dominant seventh chord").
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| The most common chords are [[tertian]], constructed using a sequence of [[major third]]s (spanning 4 [[semitone]]s) and/or [[minor third]]s (3 semitones). Seven tertian seventh chords are commonly found in western music:<ref>
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| The ''[[augmented augmented seventh chord]]'', defined by a root, a major third, an augmented fifth, and an [[augmented seventh]] (i.e., a sequence of 3 major thirds), is a rarely used tertian seventh chord. The reason is that the augmented seventh interval is [[enharmonically equivalent]] to one entire [[octave]] (in [[equal temperament]], 3 major thirds = 12 semitones = 1 octave) and is hence perfectly [[consonance and dissonance|consonant]] with the chord root.</ref>
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| {|class="wikitable" style="text-align:center;"
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| |+Seventh chords used in Western music
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| !Common name!!Chord on C!!Common symbols on C!!Intervals!!Audio
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| |[[Major seventh chord|Major seventh]]||[[File:CMA 7.png|thumb|100px]]||Cmaj<sup>7</sup>, CM<sup>7</sup>, C{{music|major}}||root, major third, [[perfect fifth]], major seventh||{{Audio|Major seventh chord on C.mid|play}}
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| |[[Minor seventh chord|Minor seventh]]||[[File:Cmi 7.png|thumb|100px]]||Cmin<sup>7</sup>, Cm<sup>7</sup>,C-<sup>7</sup> ||root, minor third, perfect fifth, minor seventh||{{Audio|Minor seventh chord on C.mid|play}}
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| |[[Dominant seventh chord|Dominant seventh]] ||[[File:C7.png|thumb|100px]]||C<sup>7</sup>||root, major third, perfect fifth, minor seventh||{{Audio|Dominant seventh chord on C.mid|play}}
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| |[[Diminished seventh chord|Diminished seventh]]||[[File:Cº7.png|thumb|100px]]||C°<sup>7</sup>, Cdim<sup>7</sup>||root, minor third, diminished fifth, diminished seventh||{{Audio|Diminished seventh chord on C.mid|play}}
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| |[[Half-diminished seventh chord|Half-diminished seventh]]||[[File:Cmi 7 (b5).png|thumb|100px]]||Cm<sup>7</sup>, C-<sup>7 ({{music|b}}5)</sup>, C<sup>ø</sup>||root, minor third, diminished fifth, minor seventh||{{Audio|Half-diminished seventh chord on C.mid|play}}
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| |[[Minor major seventh chord|Minor major seventh]]||[[File:Cmi maj7.png|thumb|100px]]||Cm<sup>maj7</sup>, Cm<sup>M7</sup>, Cm<sup>{{music|major}}7</sup>, C-<sup>{{music|major}}7</sup>||root, minor third, perfect fifth, major seventh||{{Audio|Minor major seventh chord on C.mid|play}}
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| |[[Augmented major seventh chord|Augmented major seventh]]||[[File:Caug 7.png|thumb|100px]]||Cmaj<sup>7 ({{music|sharp}}5)</sup>, C+<sup>M7</sup>, C+<sup>{{music|major}}7</sup>||root, major third, augmented fifth, major seventh||{{Audio|Augmented major seventh chord on C.mid|play}}
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| |}
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| The following seventh chord is not tertian, as it is built using a sequence of two major thirds (4 semitones) and a [[diminished third]] (2 semitones, enharmonically equivalent to a major second):
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| *[[Augmented seventh chord|Augmented seventh]] (formally ''augmented/minor seventh'', also [[Popular music symbols#Seventh chords|aug7, +7, etc.]]): root, major third, augmented fifth, minor seventh
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| **{{Audio|Augmented seventh chord on C.mid|play}}
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| The following seventh chord is again not tertian, as it is built using a sequence of two minor thirds (3 semitones) and an [[augmented third]] (5 semitones, enharmonically equivalent to a perfect fourth):
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| *[[Diminished major seventh chord|Diminished major seventh]] (also [[Popular music symbols#Seventh chords|mM7{{music|b}}5, -{{music|major}}7{{music|b}}5, etc.]]): root, minor third, diminished fifth, major seventh
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| **{{Audio|Diminished major seventh chord on C.mid|play}}
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| In tuning systems other than equal temperament there are further possible seventh chords. In [[just intonation]], for example, there is the [[Harmonic seventh chord|harmonic seventh]].
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| <span id="The dominant seventh"></span><!--This anchor has been added in order that change of the name of the section may not affect links. -->
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| === Dominant seventh chord===
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| [[Image:Dominant seventh chord V7 in C.png|thumb|Dominant seventh chord (V<sup>7</sup>) in C, G<sup>7</sup>.]]
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| {{main|Dominant seventh chord}}
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| A '''dominant seventh chord''', or '''major-minor seventh chord''' is a [[chord (music)|chord]] composed of a [[root (chord)|root]], [[major third]], [[perfect fifth]], and [[minor seventh]]. It can be also viewed as a [[Major chord|major triad]] with an additional [[minor seventh]]. It is denoted using [[popular music symbols]] by adding a superscript "7" after the letter designating the chord root.<ref>
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| Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.77. Seventh Edition. ISBN 978-0-07-294262-0.
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| </ref>
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| The dominant seventh is found almost as often as the [[dominant (music)|dominant triad]].<ref>
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| Benward & Saker (2003), p.199.</ref>
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| The chord can be represented by the [[Pitch class#Integer notation|integer notation]] {0, 4, 7, 10}.
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| Of all the seventh chords, perhaps the most important is the dominant seventh. It was the first seventh chord to appear regularly in [[classical music]]. The name comes from the fact that the flat seventh occurs naturally in the chord built upon the [[Dominant (music)|dominant]] (i.e. the fifth [[Scale degree|degree]]) of a given major [[diatonic scale]].
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| Take for example the C major scale (C, D, E, F, G, A, B, C):
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| [[Image:Dominant_seventh_in_C_major.png|400px]]
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| The note G is the dominant degree of C major - its fifth note. When we arrange the notes of the C major scale in ascending pitch and use only these notes to build a seventh chord, and we start with G (not C), then the resulting chord contains the four notes G-B-D-F and is called G dominant seventh (G<sup>7</sup>). The note F is a [[minor seventh]] from G, and is also called the dominant seventh with respect to G. However, the 'dominant' seventh is used on notes other than the dominant, such as the subdominant.
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| === Harmonic seventh chord===
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| [[Image:Harmonic seventh chord on C.png|thumb|left|Harmonic seventh chord on C {{audio|Harmonic seventh chord on C.mid|Play tempered}}.]]
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| {{main|Harmonic seventh chord}}
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| The harmonic seventh chord is a dominant seventh chord formed by a [[major triad]] plus an harmonic seventh interval.
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| The harmonic seventh interval is a minor seventh tuned in the 7:4 [[Interval ratio|pitch ratio]], one of the possible "just ratios" defined for this interval in [[just intonation]] (slightly below the width of a minor seventh as tuned in [[equal temperament]]). Sometimes called a "blue note", the harmonic seventh is used by singers, through note bending on guitars, and on other instruments not restricted to equal temperament. An often heard example of the harmonic seventh chord is the last word of the modern addition to the song "Happy Birthday to You", with the lyrics, "and many more!" The harmony on the word "more" is typically sung as a harmonic seventh chord.<ref name="Mathieu pg. 126">Mathieu, W.A. ''Harmonic Experience''. Inner Traditions International; Rochester, Vermont; 1997. ISBN 0-89281-560-4, pg. 126</ref>
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| Frequent use of the harmonic seventh chord is one of the defining characteristics of [[blues]] and [[Barbershop music|barbershop harmony]]; barbershoppers refer to it as "the barbershop seventh". Since barbershop music tends to be sung in [[just intonation]], the barbershop seventh chord may be accurately termed a harmonic seventh chord. The harmonic seventh chord is also widely used in "blues flavored" music. As guitars, pianos, and other equal-temperament instruments cannot play this chord, it is frequently approximated by a dominant seventh. As a result it is often called a dominant seventh chord and written with the same symbols (such as the blues progression I7 - V7 - IV7).
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| === Major and minor seventh chords ===
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| [[Image:Minor seventh chord on d ii7 in C.png|thumb|Minor seventh chord on d, ii<sup>7</sup> in C.]]
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| [[Image:Major seventh chord on F.png|thumb|left|Major seventh chord on F, IV<sup>7</sup> in C.]]
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| {{main|Major seventh chord|Minor seventh chord}}
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| While the dominant seventh chord is typically built on the fifth (or dominant) degree of a major scale, the minor seventh chord is built on the second, third, or sixth degree. A minor seventh chord contains the same notes as an [[Sixth chord|added sixth chord]]. For example, C-E{{music|♭}}-G-B{{music|♭}} can function as both a C minor seventh and an E flat added sixth (Id chord).
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| Major seventh chords are usually constructed on the first or fourth degree of a scale, (in C or G major: C-E-G-B). Due to the major seventh interval between the root and seventh (C-B, an inverted minor second), this chord can sometimes sound dissonant, depending on the voicing used. For example, [[Burt Bacharach|Bacharach]] and [[Hal David|David]]'s ''[[Raindrops Keep Fallin' on My Head]]'' opens with a major chord followed by a major seventh in the next measure.
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| The major seventh is sometimes notated as {{music|major}}7 (a '''delta chord''') or just a {{music|delta}} (which has the same meaning).
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| === Half-diminished seventh chord ===
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| [[Image:Leading-tone seventh chord in C major.png|thumb|Leading-tone seventh chord (vii{{music|halfdim}}<sup>7</sup>) in C major, b{{music|halfdim}}<sup>7</sup>.]]
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| {{main|Half-diminished seventh chord}}
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| A half-diminished seventh chord is a seventh chord built from the seventh degree of a major scale. It's considered "half-diminished" because a fully diminished seventh has a double-flatted seventh, making it [[enharmonic]]ally the same as a major sixth. The half-diminished seventh chord uses a minor seventh over the root of a diminished triad.
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| Example: (in the key of C major) b-d-f-a.
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| === Diminished seventh chord ===
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| [[Image:Diminished7thandMinor9thComparison.png|thumb|left|A comparison of the Diminished 7th and Dominant 7th (b9) Chords]]
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| {{main|Diminished seventh chord}}
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| A diminished 7th chord is made of three superimposed minor 3rds (e.g. B-D-F-A{{music|flat}}), which is two tritones a minor third apart (e.g. B-F, D-A{{music|flat}}). The diminished 7th chord has been used by composers and musicians for a variety of reasons over time. Some reasons include: as a symbol of [[Sturm und Drang]]; [[modulation (music)|modulation]]; and for characterisation. The diminished 7th chord is seen more frequently in late classical and romantic period works but is also found in [[Baroque]] and [[Renaissance]] period works, though not as frequently.
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| All of the elements of the Diminished 7th chord can be found in the Dominant 7th (b9) chord as seen in a comparison of the two chords.
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| ==Inversions==
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| [[File:Inversion of seventh chord.svg|thumb|300px|right|Inversions of seventh chord]]
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| There are four different inversions.
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| Seventh chord inversions are as follows:
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| *<math>{}^7</math> — GBD<u>F</u>
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| *<math>{}^6_5</math> — BD<u>FG</u>
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| *<math>{}^4_3</math> — D<u>FG</u>B
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| *<math>{}^4_2</math> — F<u>GB</u>D
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| ==See also==
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| *[[Dominant seventh flat five chord]]
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| *[[Diminished major seventh chord]]
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| *[[Augmented seventh chord]]
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| *[[Augmented major seventh chord]]
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| ==References==
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| <references />
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| ==External links==
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| * Tim Smith's 7th chord [http://www2.nau.edu/tas3/harm2/7ths/7ths.html identification] and [http://www2.nau.edu/tas3/harm2/7ths/7thsb.html construction] drills in Javascript
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| * fretjam Guitar Theory - [http://www.fretjam.com/guitar-chord-theory-3.html 7th Chords on Guitar]
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| {{Chords}}
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| {{DEFAULTSORT:Seventh Chord}}
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| [[Category:Seventh chords]]
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