Musical Theory VI

Major Seven Chords

Last week we covered the basic seven chord, which was built on the first, third, fifth, and flatted seventh of the scale bearing the same name. In Classical music, this is call the "Dominant Seventh" because if you were to build a four note chord on the Dominant (or fifth) note of a scale, you would have a seven chord. This is why we must flat the seventh in the Jazz naming scheme. A C Dominant Seventh in Classical terms is actually a G7 chord in Jazz terms. In the C major scale, there is no F#, and this is why when building the G7 from the first (G), third (B), fifth (D), and seventh (F#), we must flat the seventh note to an F. This is very similar to the idea of modes, but is far too complex for practical purposes. On the fly, if you are asked for a C Dominant Seventh Chord, you'll freeze. However, if you are asked for a G7, it's a whole lot easier. With a little practice, even intuitive.

Anyways, back to our NEW kind of chord for this week, the Major Seven. As we have just reminded ourselves, the regular seven chord is the first, third, fifth, and flatted seventh of the scale bearing the same name as the chord. For example, D7 is D-F#-A-C. But what happens if we leave the C#? The chord will have an almost "lifting" sound to it. Whereas a triad and a seventh chord sound final and secure, a major seventh chord sounds as if it is floating. So for our example a Dmaj7 (D major seven chord) would be D-F#-A-C#.

If you have the means, play a regular seven chord on an instrument, followed by a major seven chord. Do you hear the lifting?

Quiz Question:
Describe the difference in sound between a fretted and a fretless bass. (This is a fairly subjective question, so long as the answer is argued reasonably well and is supported, a point will be awarded.)