Minor seventh chord

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Minor-minor (i7) seventh chord on C[1] About this sound Play .

In music, a minor seventh chord is any nondominant seventh chord where the "third" note is a minor third above the root.

ii7- when looking at the chord it changes to play and dab V7-I progression in C About this sound Play .

Most typically, minor seventh chord refers to where the "seventh" note is a minor seventh above the root (a fifth above the third note). This is more precisely known as a minor/minor seventh chord, and it can be represented as either as m7 or -7, or in integer notation, {0, 3, 7, 10}. In a natural minor scale, this chord is on the tonic, subdominant, and dominant[1] degrees. In a harmonic minor scale, this chord is on the subdominant[1] degrees. In an ascending melodic minor scale, this chord is on the supertonic[1] degree. In a major scale, this chord is on the second (supertonic seventh), third (mediant) or sixth (submediant)[2] degrees. For instance the ii7 in the ii-V-I turnaround.

Example of tonic minor seventh chords include LaBelle's "Lady Marmalade", Roberta Flack's "Killing Me Softly with His Song", The Doobie Brothers' "Long Train Runnin'", Chic's "Le Freak", and the Eagles' "One Of These Nights".[3]

minor/minor seventh chord
Component intervals from root
minor seventh
perfect fifth
minor third
root
Tuning
10:12:15:18[4]
Forte no. / Complement
4-26 / 8-26

When the seventh note is a major seventh above the root, it is called a minor/major seventh chord. Its harmonic function is similar to that of a "normal" minor seventh, as is the minor seven flat five or half-diminished chord – but in each case, the altered tone (seventh or fifth, respectively) creates a different feeling which is exploited in modulations and to use leading-tones.

Minor seventh as virtual +6 chord[edit]

The minor seventh chord may also have its interval of minor seventh (between root and seventh degree, i.e.: { C B } in { C E G B } ) rewritten as an augmented sixth { C E G A }.[5] Rearranging and transposing, this gives { A C E F }, a virtual minor version of the German augmented sixth chord.[6] Again like the typical +6, this enharmonic interpretation gives on a resolution irregular for the minor seventh but normal for the augmented sixth chord, where the 2 voices at the enharmonic major second converge to unison or diverge to octave.[7]

Minor/minor seventh chord table[edit]

Chord Root Minor third Perfect fifth Minor seventh
Cm7 C E G B
Cm7 C E G B
Dm7 D F (E) A C (B)
Dm7 D F A C
Dm7 D F A C
Em7 E G B D
Em7 E G B D
Fm7 F A C E
Fm7 F A C E
Gm7 G Bdouble flat (A) D F (E)
Gm7 G B D F
Gm7 G B D F
Am7 A C (B) E G
Am7 A C E G
Am7 A C E (F) G
Bm7 B D F A
Bm7 B D F A

The just minor seventh chord is tuned in the ratios 10:12:15:18.[8] About this sound Play  This may be found on iii, vi, and vii.[9] Another tuning may be in the ratios 48:40:32:27.[10] About this sound Play 

Sources[edit]

  1. ^ a b c d Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.230. Seventh Edition. ISBN 978-0-07-294262-0.
  2. ^ Benward & Saker (2003), p.229.
  3. ^ Stephenson, Ken (2002). What to Listen for in Rock: A Stylistic Analysis, p.83. ISBN 978-0-300-09239-4.
  4. ^ Shirlaw, Matthew (1900). The Theory of Harmony, p.86. ISBN 978-1-4510-1534-8.
  5. ^ Ouseley, Frederick. A. Gore (1868). A Treatise on Harmony, pg. 137, Oxford, Clarendon Press.
  6. ^ Ouseley, Frederick. A. Gore (1868). A Treatise on Harmony, pg. 143ff, Oxford, Clarendon Press.
  7. ^ Christ, William (1966). Materials and Structure of Music, v.2, p. 154. Englewood Cliffs: Prentice-Hall. LOC 66-14354.
  8. ^ David Wright (2009). Mathematics and Music, p.141. ISBN 978-0-8218-4873-9.
  9. ^ Wright, David (2009). Mathematics and Music, p.140-41. ISBN 978-0-8218-4873-9.
  10. ^ François-Joseph Fétis and Mary I. Arlin (1994). Esquisse de l'histoire de l'harmonie, p.97n55. ISBN 0-945193-51-3.