By using the triads we have just discovered, we can build seventh chords on top of them. Let's see how they work!
Seventh chords are chords that consist of four notes, with the fourth note being a seventh interval above the root note. Like triads, seventh chords are an important part of tonal harmony and are found in many different styles of music. There are several types of seventh chords, including major seventh chords, minor seventh chords, dominant seventh chords, diminished seventh chords, and half-diminished seventh chords.
A major seventh chord consists of a root note, a major third interval above the root, a perfect fifth interval above the root, and a major seventh interval above the root. It has a bright, happy sound and is often used to create a sense of resolution or closure in a piece of music. We might also write major seventh chords as MM chords, since there is a major triad followed by a major third.
Here is an example:
Image via PianoNote
A minor seventh chord (mm) consists of a root note, a minor third interval above the root, a perfect fifth interval above the root, and a minor seventh interval above the root. It has a more mellow, contemplative sound and is often used to create a sense of tension or dissonance.
A dominant seventh chord (Mm) consists of a root note, a major third interval above the root, a perfect fifth interval above the root, and a minor seventh interval above the root. It is one of the most common types of seventh chords and is used extensively in blues, jazz, and rock music. It has a strong, bluesy sound and is often used to create a sense of tension or instability that needs to be resolved.
A diminished seventh chord consists of a root note, a minor third interval above the root, a diminished fifth interval above the root, and a diminished seventh interval above the root. It has a very tense, dissonant sound and is used to create a sense of instability or unease.
The half-diminished seventh chord is similar to a diminished seventh chord, but with a minor seventh interval instead of a diminished seventh interval. Sometimes, we will denote seventh chords with a little circle and a line through it. It has a very tense, dissonant sound and is often used to create a sense of instability or unease in a piece of music.
The half-diminished seventh chord is often used as a substitute for a dominant seventh chord in jazz, and it is an important part of the harmonic language of the genre. It can also be found in classical music, where it is sometimes used to create a sense of tension or dissonance that needs to be resolved. In rock and pop music, the half-diminished seventh chord is not as common, but it can be used to add variety and interest to chord progressions and melodies.
Image via Music Theory Teacher
Seventh chords are typically played with the root note in the bass, or lowest part, and the other three notes stacked on top. Like triads, they can also be played in inversions, where the root note is not in the bass. In a first inversion seventh chord, the middle note (the third) is played in the bass, and in a second inversion seventh chord, the fifth is played in the bass. There is also a third inversion, where the seventh is played in the base, but this inversion is not used very frequently.
Diatonic Seventh Chords
Building a Seventh Chord in Major
First, let's take the base of a major triad and build seventh chords upon it. Let's use a C Major triad for now.
Reminder, a major chord is built by combining a major 3rd and a minor third above it. To make this triad into a Major 7th chord (MM or M7), we add a major 3rd on top. To make the triad a Major-minor 7th chord (Mm or dominant-7th), we add a minor 3rd on top.
What happens if the base triad is minor?
This minor triad can add a minor 3rd on top to create a minor 7th chord: mm
The last type of commonly used 7th chords contain the diminished triad base.
This base also can add a major or minor triad on top. Here is the diminished triad with a major 3rd on top. We call this a half-diminished seventh chord (ø7, dm, or diminished-minor).
If we add a minor triad to a diminished triad base, we have a fully-diminished seventh chord (°7, dd, or diminished-diminished)
On the major scale, all of the qualities of the seventh chords will be the same as the qualities of the triads. For a little bit of intuition about why this is the case, consider that the quality of the seventh chord depends on the quality of the triad and the quality of the third above the triad.
Now, let’s say that we take the three notes of the seventh chord that do not include the root. This will be a three chord in whatever key the root is in. If the base triad is a major chord, then the third will be minor, so the interval between the third and the fifth (i.e. the fifth and the seventh in the original seventh chord) will also be major.
If the base triad is a minor chord, then the third will be Major, so the interval between the fifth and the seventh will be minor.
The only chord that this doesn’t work for is the V chord, because a third above the fifth is the octave. In this case, you will have a Major-minor seventh chord (aka a dominant seventh chord). See where the name “dominant seventh chord” comes from?
The other chord that will be a little bit different in Major is the seven chord. Its base triad will be diminished, and following the observations above, the third between the fifth and the seventh is minor. Therefore, it is not fully diminished – it will just be half-diminished.
Just to recap, here are the scale degrees and the corresponding qualities of the seventh chords. The chords built on the first, fourth, and fifth scale degrees are major chords, and the chords built on the second, third, and sixth scale degrees are minor chords. The chord built on the seventh scale degree is a diminished chord.
For example, in the key of C major, the diatonic seventh chords are C major seventh (I), D minor seventh (ii), E minor seventh (iii), F major seventh (IV), G dominant seventh (V), A minor seventh (vi), and B half-diminished seventh (viiø).
Diatonic Seventh Chords in Minor
When we are writing in minor, the diatonic seventh chords will have different qualities. Unlike in the last section, the seventh chords will not always have the same qualities as the triads. This is because we have to consider raising the 7th in some instances (e.g. to make the V a major chord).
The chords built on the first and fourth scale degrees are minor chords, and the chords built on the third, and seventh scale degrees are major chords. The chord built on the third scale degree is a diminished chord.
For example, in the key of A minor, the diatonic seventh chords are A minor seventh (i), B half-diminished seventh (iiø), C major seventh (III), D minor seventh (iv), E major seventh (V), F major seventh (VI), and G major seventh (vii°).
Notice that just like when we learned triads, we raise the seventh when we write the dominant chord and the vii chord, but not for the i chord or the III chord. We usually don’t raise the sixth because the raised sixth has a melodic function – not a harmonic function.
🦜 Polly wants a progress tracker: Can you spell a gø7 chord (G half-diminished 7th chord)?
Using Seventh Chords in Chord Progressions
In classical styles, we only really see the seventh chord built on the 2nd, 5th, and 7th scale degrees. One example is the V⁷ chord, which allows us to use stepwise motion and resolve beautifully towards the tonic.
Seventh chords generally have a lot of dissonance, because there is the dissonant 7th interval in the chord. As such, seventh chords can be used in chord progressions to create a sense of instability or dissonance. For example, a half-diminished seventh chord can be used to create a sense of tension or dissonance that is not fully resolved until later in the progression.
Seventh chords are also good to use as substitutes for other chords in chord progressions when the voice leading is awkward or there are large leaps. Remember: we want stepwise motion whenever possible, so we can use seventh chords to achieve that goal. We will see how all of these functions work in more detail in future chapters.
Frequently Asked Questions
What's the difference between a major seventh and a dominant seventh chord?
A major seventh (M7, “major-major”) is a seventh chord built of a major triad plus a major seventh above the root (1–3–5–7̂). It sounds relatively consonant and the seventh doesn’t strongly pull to resolve. A dominant seventh (Mm7, “major-minor” or V7) is a major triad with a minor (flattened) seventh (1–3–5–b7). The dominant seventh contains strong tendency tones: the 3 is the leading tone to the tonic and the chordal seventh (b7) is a dissonance that typically resolves down by step. Because of those tendencies, V7 has dominant function and usually resolves to I (voice-leading and resolution of the seventh are tested on the exam under PIT-2.C). On the AP exam you may be asked to name quality from score or listening; practice identifying the interval from root to seventh (major vs. minor). For extra review, see the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2) and try practice problems (https://library.fiveable.me/practice/music-theory).
How do I identify seventh chord qualities when I'm listening to music?
Listen for the 3rd and the 7th and how the 7th resolves. Practically: find the chord’s root or the bass, then hear the interval from that root to the upper voices—especially the third (major/minor) and the seventh (major/minor/diminished). Match those to the five CED qualities: major seventh (M7), dominant/major-minor (Mm7), minor seventh (m7), half-diminished (ø7 = diminished triad + minor 7th), and fully-diminished (°7 = diminished triad + diminished 7th). Also use voice-leading cues: a chordal seventh is a tendency tone and usually resolves down by step; a leading-tone seventh (in dominants) pulls to tonic. Inversions change what you hear—3rd, 1st, 2nd, or 4th inversion (3rd inversion = seventh in bass). On the AP exam many aural items test performed music, so practice identifying those intervals and hearing the seventh resolve. For extra guided practice and examples, check the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2), the Unit 3 overview (https://library.fiveable.me/music-theory/unit-3), and the 1000+ practice problems (https://library.fiveable.me/practice/music-theory).
I'm confused about the symbols for seventh chords - what does MM7 and Mm7 actually mean?
MM7 (or M7) and Mm7 look similar but tell you the third and seventh qualities. - MM7 (major–major, written M7): a major triad with a major seventh above the root. Example in C: C–E–G–B. The seventh (B) is a tendency tone that usually resolves up to C in tonal voice leading. CED label: “major seventh” (PIT-2.C.1). - Mm7 (major–minor, usually just written 7 or Mm7): a major triad with a minor (flatted) seventh. Example in C: C–E–G–Bb. This is the dominant seventh quality (major–minor) and often has dominant function in tonal harmony (PIT-2.C.1). On the exam you’ll be asked to identify these in notated music and recognize the chordal dissonance/resolution of the seventh (PIT-2.C). Practice identifying and spelling both types on the Fiveable study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2) and try problems at (https://library.fiveable.me/practice/music-theory).
How do I write seventh chords in my composition portfolio?
Write them clearly in the score and label their quality and inversion. Notation: spell all chord tones (seventh chords need four voices unless you omit a nonessential tone), then add a label: M7 (major seventh), Mm7 or V7 (dominant/major-minor), m7 (minor seventh), ø7 (half-diminished), °7 (fully diminished). If you want exam-style clarity, add a Roman numeral (e.g., V7, vii°7/V) or figured-bass (e.g., 7, 6/5, 4/2 for inversions). Show resolution of the seventh (the seventh is a chordal dissonance and should normally resolve down by step) and avoid doubling the leading tone or the chordal seventh. For third inversion, show the bass as the seventh (4/2). AP expects you to be able to describe quality in notated music (PIT-2.C), so label chords for the portfolio. For a quick review, see the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2) and the Unit 3 overview (https://library.fiveable.me/music-theory/unit-3). Practice with 1,000+ problems (https://library.fiveable.me/practice/music-theory).
What's a chordal dissonance and why does it matter for my AP exam?
A chordal dissonance is a chord tone that has a built-in tendency to resolve because it sounds unstable—most commonly the chordal seventh. In seventh chords (Mm7, m7, ø7, °7, M7) the seventh is treated as a dissonance and usually resolves down by step to a chord tone in the next harmony. That matters for the AP exam because you’ll be asked to identify seventh-chord qualities (PIT-2.C) and to realize or analyze four-part writing: unresolved or incorrectly resolved chordal sevenths are graded as voice-leading errors (you can lose points or get a 0 for that error in Part-Writing/harmonic dictation). So always check that sevenths move down by step (except specific exceptions given in the CED). Review Topic 3.4 for rules and examples (study guide: https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2), and practice part-writing/harmonic dictation on Fiveable’s unit page (https://library.fiveable.me/music-theory/unit-3) and practice set (https://library.fiveable.me/practice/music-theory).
How do I hear the difference between a minor seventh and a half-diminished seventh chord?
Listen for the triad first, then the seventh. A minor-seventh (m7) is a minor triad + a minor seventh (minor–minor); it sounds relatively warm/“jazzy” and stable. A half-diminished seventh (ø7) is a diminished triad + a minor seventh (diminished–minor); it sounds tenser and more unstable because the triad contains a diminished fifth (the tritone). Practical steps to hear it: - Play or sing the triad alone: if the 3rd–5th is a minor 3rd + perfect 5th → minor triad (m7). If the 3rd–5th is a minor 3rd + diminished 5th (tritone) → half-diminished. - Add the seventh and notice character: m7 feels consonant-ish; ø7 feels more dissonant and leading. - Check the resolution: the chordal seventh usually resolves down by step (CED: chordal dissonance, tendency tone). In context, ø7 often functions to lead strongly to a tonic or next chord. For more examples and ear-training, see the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2) and practice problems (https://library.fiveable.me/practice/music-theory).
Can someone explain fully-diminished seventh chords in simple terms?
A fully-diminished seventh (symbol: °7) is a four-note chord built of three stacked minor thirds (e.g., B–D–F–A♭). It’s called diminished–diminished in the CED (PIT-2.C.1) because both the triad and the seventh are diminished. Important exam things: the chord contains a chordal seventh (a tendency tone) that usually resolves down by step, so treat the 7th as a dissonance that needs resolution (voice-leading is key). Fully-diminished sevenths often function as vii°7 of a key’s dominant (leading-tone seventh) and resolve to a tonic or a dominant; in four-part writing you must include all four chord tones and avoid doubled leading tones or unresolved sevenths. On the AP, you may be asked to identify quality (°7) in notated or performed music and show correct resolution in part-writing (see PIT-2.C and PIT-2.C.2). For a clear review and examples, check the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2) and more practice problems at (https://library.fiveable.me/practice/music-theory).
What's the best way to practice identifying seventh chord qualities by ear?
Best routine: train the sound of each seventh quality and the tendency tones, then test yourself in short, focused drills. - Learn the five CED qualities (M7, Mm7/dominant7, m7, ø7 half-diminished, °7 fully-diminished). Sing or play the root, third, fifth, then the seventh—notice whether the seventh is a major/minor/diminished interval above the root. (PIT-2.C.1) - Hear function: dominant (Mm7) often has the leading tone and wants to resolve to tonic; chordal sevenths usually resolve down by step. Train to hear that tendency tone/resolution (chordal dissonance). (CED keywords) - Practice method (20 min/day): 5 min pure interval ID (3rds, 7ths), 10 min listening to isolated seventh chords in root position and inversions, 5 min mixed drill (identify quality + inversion). Sing the seventh downward to feel resolution. - Use recorded aural drills and AP-style harmonic dictation practice since Section I.A and Free-response harmonic dictation test these skills. For targeted study and practice questions see the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2) and the unit practice page (https://library.fiveable.me/practice/music-theory).
I don't understand why some seventh chords sound like they need to resolve - help?
Seventh chords “need” to resolve because they contain chordal dissonances (the seventh and sometimes the leading tone) that have strong tendency-tone behavior. For example, the dominant seventh (Mm7) contains a tritone between the 3rd and 7th of the chord; that tritone wants to resolve (the 3rd usually goes up to the tonic, the chordal 7th usually steps down). Fully-diminished and half-diminished sevenths (vii°7, ø7) are built on the leading tone and are even stronger in their pull to resolve to tonic or a related chord. When the seventh is in a prominent voice (or in third inversion where the 7th is in the bass), the dissonance is exposed and you feel a stronger need for stepwise resolution. On the AP exam, unresolved chordal sevenths or leading tones count as voice-leading errors in part-writing, so always resolve sevenths down by step unless an exception is clearly allowed (see the rubric). For a quick refresher, check the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2) and try practice problems (https://library.fiveable.me/practice/music-theory).
How do I notate a half-diminished seventh chord properly in my score?
Write it with the “half-diminished” symbol: a small circle with a slash through it plus a 7 (ø7). That’s the CED convention for a half-diminished seventh (diminished-minor). In practice you can notate it three ways depending on context: - Score/chord symbol: ø7 (e.g., Bø7 or Bø7/C)—or in jazz lead sheets: m7♭5 (e.g., Bm7♭5). - Roman-numeral analysis: viiø7 (or iiø7, etc.) showing scale degree and quality. - Figured-bass/inversion: show the usual seventh-chord figures (e.g., 4–2 for third inversion) and indicate the ø quality in your analysis. Remember the chord contains a diminished triad + a minor seventh (e.g., B–D–F–A). On the AP exam, use ø7 in notation and Roman numerals when asked (CED PIT-2.C.1). For a quick refresher and examples, check the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2). For extra practice, try problems at Fiveable’s practice page (https://library.fiveable.me/practice/music-theory).
What makes a dominant seventh chord different from other seventh chords?
A dominant seventh is different because of its quality and function: it’s a major triad with a minor (lowered) seventh above the root—notated Mm7 and often called “dominant seventh” in the CED (PIT-2.C.1). That Mm7 commonly appears on the V chord and exercises dominant function: the triad contains the leading tone (which wants to resolve up to tonic) and the chordal seventh (a tendency tone/dissonance) that typically resolves down by step. Because of those tendency tones, voice-leading rules require specific resolutions (seventh down, leading tone up), which is why it sounds strongly like it needs to move to I. On the exam you may be asked to identify this quality in performance or notation (PIT-2.C). For a clear review and examples, see the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2). For more practice, check the unit page (https://library.fiveable.me/music-theory/unit-3) and the practice problems (https://library.fiveable.me/practice/music-theory).
How do I analyze seventh chords in the music examples for my listening portfolio?
Listen for the chord’s four tones, identify the triad (root, 3rd, 5th) plus the 7th, then name the quality using the CED categories: major seventh (M7), dominant/major-minor (Mm7), minor seventh (m7), half-diminished (ø7), or fully-diminished (°7) (PIT-2.C.1). Check the bass to find inversion (root position, 1st/2nd/3rd—third inversion means the 7th is in the bass). In a recording describe any chordal dissonance: the 7th is a tendency tone that usually resolves down by step (PIT-2.C.2) and note whether the chord functions as a dominant (Mm7 on V) or a tonic/predominant. On the AP exam you may be asked to identify quality and inversion in aural or notated prompts, so practice both listening and score analysis. For a quick refresher use the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2), review Unit 3 (https://library.fiveable.me/music-theory/unit-3), and drill 1000+ practice problems (https://library.fiveable.me/practice/music-theory).
Why do teachers use so many different symbols for the same seventh chord?
Short answer: teachers use different symbols because different traditions and tasks emphasize different info—quality, function, inversion, or shorthand—so multiple notations all point to the same chord. Details: classical theory often uses names tied to quality (major seventh = M7 or Maj7; dominant = 7 or Mm7; minor seventh = m7; half-diminished = ø7 or m7♭5; fully diminished = °7). Jazz/pop writers prefer Δ, Maj7, or plain 7 as quick shorthand. Figured bass and part-writing use numbers (6/5, 4/2, etc.) to show inversions and voice-leading. AP cares that you can identify seventh-chord quality in performed and notated music (PIT-2.C in the CED), so learn the common labels listed there and how the seventh resolves. For a focused review, see the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2) and practice questions (https://library.fiveable.me/practice/music-theory).
What's the easiest way to remember all five types of seventh chord qualities?
Think of each seventh chord as “triad quality + seventh quality.” That rule alone makes all five easy to remember: - Major seventh (M7 or MM) = major triad + major 7 - Dominant (Mm7) = major triad + minor 7 (this is the common V7) - Minor seventh (m7 or mm) = minor triad + minor 7 - Half-diminished (ø7 or dm) = diminished triad + minor 7 - Fully-diminished (°7 or dd) = diminished triad + diminished 7 A quick mnemonic: “Triad then 7th”—ask yourself: is the triad major, minor, or diminished? Then ask: is the 7th major, minor, or diminished? Also remember the AP idea that the chordal seventh is a dissonance with a tendency to resolve down by step (important for voice leading and exam answers). For more examples and practice tied to the CED, check the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2) and practice questions (https://library.fiveable.me/practice/music-theory).
How do I show my understanding of chordal dissonance in my AP music theory responses?
When the prompt asks about chordal dissonance, name the dissonant chord tone, its tendency, and show correct resolution and voice-leading. Use AP terms from the CED: identify the seventh-chord quality (MM, Mm, mm, ø7, °7—PIT-2.C.1), then point out the chordal dissonance (the chordal seventh or leading tone—PIT-2.C.2). Say how it resolves: the chordal seventh usually resolves down by step; a leading tone resolves up to tonic. In notated answers or part-writing, show the seventh present in four voices (or labeled in figured bass), resolve it by step, avoid doubled leading tones or unresolved sevenths, and note inversion (e.g., third inversion places the seventh in bass). In aural/descriptive questions, say the chord’s function (dominant seventh = Mm7) and sing/point out the dissonant tone and its resolution. For more practice and examples, see the Topic 3.4 study guide (https://library.fiveable.me/music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2), the Unit 3 overview (https://library.fiveable.me/music-theory/unit-3), and Fiveable practice problems (https://library.fiveable.me/practice/music-theory).