Major seventh chord

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   {
     \override Score.TimeSignature #'stencil = ##f
     \new PianoStaff <<
       \new Staff <<
           \relative c' {
               \stemUp \clef treble \key g \major \time 4/4
               <d fis b d>1\fermata
               }
           >>
       \new Staff <<
           \relative c {
               \clef bass \key g \major \time 4/4

<g g'>1\fermata \bar "

Dizzy Gillespie's 1956 recording of "Dizzy's Business" ends with a major seventh chord^[1] with root on G.

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In music, a major seventh chord is a seventh chord in which the third is a major third above the root and the seventh is a major seventh above the root. The major seventh chord, sometimes also called a Delta chord, can be written as maj⁷, M⁷, Template:Music, ⑦, etc. The "7" does not have to be superscripted, but if it is, then any alterations, added tones, or omissions are usually also superscripted. For example, the major seventh chord built on C, commonly written as Cmaj⁷, has pitches C–E–G–B:

{ \override Score.TimeSignature #'stencil = ##f \relative c' {

  \clef treble
  \time 4/4
  \key c \major
  <c e g b>1

} } </score>

It can be represented by the integer notation {0, 4, 7, 11}.

According to Forte, the major seventh chord is exemplified by IV⁷, which originates melodically.^[2]

   {
     \override Score.SpacingSpanner.strict-note-spacing = ##t
 \set Score.proportionalNotationDuration = #(ly:make-moment 1/6)
     \new PianoStaff <<
       \new Staff <<
           \new Voice \relative c {
               \stemUp \clef treble \key c \major \time 4/4
               f4 e d2
               }
           \new Voice \relative c {
               \stemDown
               <a c>2 <g b>
               }
           >>
       \new Staff <<
           \relative c {
               \clef bass \key c \major \time 4/4
               f2_\markup { \concat { "IV" \hspace #1 "IV" \super \column { "7" } \hspace #1 "V" } }
               g
               }
           >>
   >> }

</score> Template:Stack The just major seventh chord is tuned in the ratios 8:10:12:15, as a just major chord is tuned 4:5:6 and a just major seventh is tuned 15:8.

The minor flat sixth chord (minor triad with an added minor sixth) is an inversion of this chord.

Examples

In 1888, the French composer Erik Satie composed three slow waltzes, entitled Gymnopédies. The first and best-known of these alternates two major seventh chords. The first eight measures (shown below) alternate between Gmaj⁷ and Dmaj⁷.

  \new PianoStaff <<
     \new Staff <<
        \new Voice \relative c {
            \clef treble \key d \major \time 4/4
            \tempo "Lent et douloureux"
            \voiceOne R2. R2. R2. R2. r4 fis( a g fis cis b cis d a2.)
            }
        \new Voice \relative c' {
            \override DynamicLineSpanner.staff-padding = #2
            \voiceTwo \stemUp \crossStaff { \override Stem.length = #7 r4\pp <d fis>2 r4 <cis fis>2 r4 <d fis>2 r4 <cis fis>2 r4 <d fis>2 r4 <cis fis>2 r4 <d fis>2 r4 <cis fis>2 }
             }
        \new Voice \relative c' {
            \dynamicUp s2. s2. s2. s2. s4 s2\< s2. s2 s4\!\> s2 s4\!
             }
           >>
    \new Staff <<
        \new Voice \relative c' {
            \clef bass \key d \major \time 3/4
            \voiceOne \stemUp \override Stem.length = #8 s4 \crossStaff { b2 s4 a2 s4 b2 s4 a2 s4 b2 s4 a2 s4 b2 s4 a2 }
            }
        \new Voice \relative c {
            \voiceTwo g2. d g d g d g d
            }
        >>
   >>

</score>

Later examples of tonic major seventh chords include Henry Mancini's Theme from Charlie's Angels, Joseph Kosma's "Autumn Leaves",^[3] The Beatles' "This Boy",^[4] Eagles' "One of These Nights", Bread's "Make It With You", America's "Tin Man", Blood Sweat & Tears' "You've Made Me So Very Happy", the third (main) part of Paul McCartney and Wings' "Band On The Run", Carly Simon's "The Right Thing to Do", and Chicago's "Colour My World".^[5]

Common in jazz since the Jazz Age of the 1920s, major seventh chords appeared frequently in compositions of genres influenced by jazz in the subsequent decades, such as traditional pop, bossa nova, and easy listening. Moving into the 1970s to replace the prominence of the dominant seventh chord as a stable tonic more common in the first fifteen years of the rock era, the major seventh was common in all styles, "pervading soul, country rock, soft rock, MOR (middle-of-the-road styles), jazz rock, funk, and disco."^[5] Music theorist Ken Stephenson continues:

Template:QuotePieces which feature prominent major seventh chords include: Tadd Dameron's "Lady Bird",^[6] and "This Guy's in Love with You", ^[7] by Burt Bacharach and Hal David.