major 7ths

Ben Jones · From: Seattle, Washington, USA

Without alot of theory can anyone explain how they use major 7ths? when ? where do you get em?
examples?

thanks

Brian McGaughey · From: Orcas Island, WA USA

Hey Ben, I'll take this one!

A Major 7 is simply the 7th note of a major scale. Example, in the C scale, it's B, a half-tone down from the octave of the root.

In chords, a CMaj7 would be the C triad of C,E,G and add the 7th tone of B.

Trick: if you leave off the root of CMaj7 you've got Em chord=E,G,B

It's pretty much a Sunday church chord for me, although playing the 7th scale degree in a solo or melody isn't so uncommon.

Example, play strings 6,5,4,2 at the nut for an EMaj7. E,G#,B,D#. I'm sure there are better voicings but that one comes to mind. Actually with those strings the B is one the bottom, then E, G# D#. Using three picks total I usually leave out the root, so it's actually a G# minor, but sounds good against the bassman's E.

Keep in mind a dominant 7th is a flatted 7th scale degree, a full tone down from the octave of the root.

I know there'll be better examples to follow... Smile

Bill Mayville · From: Las Vegas Nevada * R.I.P.

Hi Ben

Bill here again.
I don"t think I'll get into it today,on your question.,and it's a good one.
Cmaj 7 is a great sound,Depending on how you use it.
The D lever will do it for you.
Depending on how you use it ,determines what you call it.Each way ,the D lever makes the chord.Without certain chord arraignments it is
a E-minor. With a different arraignment it is a
C maj 7.

like===8/86&5 =C //// 8/86&5D=Cmaj7

Open ,using the D lever =Emaj7, G#m, B6

Bill
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Jerry Hayes · From: Virginia Beach, Va.

Hey Bill, if you're talking about the D lever being the one that lowers your 4th & 8th strings, I think the only one who used that terminology was Jeff Newman. I think most would prefer the term "The E lever" as that's what strings are lowered. The "D lever" is to me and many others is the one which lowers the 2nd string. It just makes more sense. That said, I agree with lowering the E string a half for the maj7 chords. If you've got a 12 string it's even better as you have that root on the 12th string or on the 11th if you play a Universal.

Another way is to use your 9th string D as a root and use the A & B pedals down. Example, to play an A maj7 go to the 5th fret with no pedals for the major chord, for the maj7 move up two frets and using the 9th string for the root add the A & B pedals. The 5th string with the A pedal would be the maj7 in that position. Another nice use of this position is to rock on and off the A pedal in a sort of "Memphis" type vamp and you've got the intro lick to "Walk Right Back"........JH in Va.
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CrowBear Schmitt · From: Ariege, - PairO'knees, - France

i'm w: Jerry
D lowers Eb to D on string 2 & lowers D on string 9 to C#
E lowers Es to Eb
F raises Es to F
G raises F#s to G or G# on 1 & 7 or lowers G# to F# on 6

a nice way to get a Maj7 chord on E9 in C is to play on fret 10 :
root on string 9 (C) 7 (E) 6 w: pedal B (G) & 5 w: pedal A (B)

Charles Davidson · From: Phenix City Alabama, USA

Most of the time I do what Jerry said,two frets up with a and b pedals and 9th string. Makes a nice ending chord for ballards and things like Sleep Walk. Just don't over do it on every pretty song will get old hat. YOU BETCHA,DYK?BC.
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Ben Jones · From: Seattle, Washington, USA

Bill wrote:
"Open ,using the D lever =Emaj7, G#m, B6"

gotcha, this i understand (tho like Jerry I prefer to call the levr that lowers my second string the D lever). Thanks Bill, that was concise and helpful put like that. i thkn I knew that but didnt really know that I knew it if that make any sense.

speaking of that second string lower, this is where im getting cofused . Im told that adding the second string yeilds a maj 7th, but adding the half step lowered second string yeilds a dom maj 7th? when do i want that dom maj 7th? vs the plain jane maj 7th?

why'd they have to go and give two chords the same name...ding dangit. Confused

CrowBear Schmitt · From: Ariege, - PairO'knees, - France

that 2nd string thing would be open for the Maj7 tone, lower it a half step at the end of the bar ( Dom7th) to call in the 4 chord & then lower it a whole tone (if you have it) when you're on the 4 chord

Bill Mayville · From: Las Vegas Nevada * R.I.P.

I don't try to change anything,what the majority of players are using for levers.
Saying that,the majority of players probably
learned alot from Jeff,more so than any person on the planet.I might be wrong though.
That was brought up by someone at a seminar.
The explaination was,,,If you leave The E alone,and call it E,then why would I have to call F ,an F lever, because it left E in the dust.?
The only other answer I heard was,why would anyone call a -D, D#,or a D minor ,an E?
I did not like some of his ways,either.When a newbie
would hold his hand,like he just squashed a marsh-mellow,or was pretending his hand was a claw,I have seen him smack the hand with a ruler. No blood,but the guy he smacked will never forget to block again.
This is why I defend The greatest Steel guitar teacher of ALL time.
The methods he taught were instilled in thousands,
and I'm sorry if I think a little down,on players changing the obvious.
I don't think I have to say anymore.
AND.I miss him also.

Bill Mayville
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Steve Norman · From: Seattle Washington, USA

They are great tension builders. Makes resolving the song more effective in my opinion.
On my c6 neck they seem to sound better, and I use them with the 1 and 4 chords, just before a change up to the next,

1maj > 1maj7 > 4

or

4 > 4maj7 > 5

also a 4major7 resolves into the 6minor well, so in G, Cmaj7 > Eminor sounds nice
(note the 4maj7 is only one note away from the 6minor, so they are good substitutes for each other.)

Also starting the major chord as a maj7 then releasing to a regular maj sounds really nice

Cmaj7> Cmaj

I have know idea if you are supposed to do this, but I like it.

for 5 chords I usually use the dominant 7 where the 7 note is flat.

I think Pink Floyds welcome to the machine is based around the 4 chord alternating between the major and major 7 and the 6 minor, (Key of Gmaj,with C, Cmaj7, and Emin being the main chords if I remember right)
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b0b · From: Cloverdale, CA, USA

I use maj7 on the I or IV chord to add a jazz or lounge flavor. Other than that, I only use maj7 when the chart calls for it.

Use B+C pedals down, string 9 for the root. The maj7 chord is two frets higher than the open position (5th fret B+C is Gmaj7, for example). Don't play the 8th string.
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Billy Murdoch · From: Glasgow, Scotland, U.K.

I use the Maj7 often for a finish touch on a slow ballad.
Example,
finish on C chord at fret8 play single notes(no pedals or levers)
on strings 8,6,5,2 and let them ring

Another finish is C at either fret 3 or fret 15 with A and B pedals down is to rake backwards on strings
4,5,6 and 8 and then as they ring let off pedal B Yow will actually be playing an E minor but it will sound C Maj7

The Eagles song Lyin' eyes starts off G G Maj7 C and so on
Best regards
Billy

Barry Hyman · From: upstate New York, USA

Ben, there is no such thing as a "dominant major 7th." Either it is a major seventh chord, which means it is a major triad with the seventh note of a major scale added, or it is a seventh chord (also called dominant seventh) which is a major triad with the seventh note of a minor scale added.

C major seventh (CM7 or C Maj7) consists of the notes C, E, G, and B.

C seventh (C7 or C dom7) consists of the notes C, E, G, and Bb).

If you put the bar at the 8th fret and pick strings 8, 6, 5, and 2, you will get a CM7. If you lower the second string one fret it will become C7.

Hope that helps...
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Steve Norman · From: Seattle Washington, USA

this may help overall with the construction of the chords and the differences between dominant and maj7 chords.

http://www.ultimate-guitar.com/lessons/chords/chord_building_101.html
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Clyde Mattocks · From: Kinston, North Carolina, USA

The next thing after learning how to get a major 7th is learning where to put it. In Motown ballads and other forms of Pop music, they are all over the place, but if you're playing genuine honky tonk beer joint music, they can get you strung up from the nearest tree.
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Ben Jones · From: Seattle, Washington, USA

Dave Harmonson · From: Seattle, Wa

I've heard that Johnny Gimble said "a major seventh chord is the last refuge of a scoundrel".
If you want syrup use the maj 7th. If you want grits use the the major chord with minor 7th or what's been called the dominant 7th.
By the way the term dominant 7th refers to the 5 chord which is the dominant chord of the key. If it's used on the 1 it would be a secondary dominant or a 5 of 4. On the 2 major it is the 5 of 5 being that it is substituted in a key to act like a domninant chord and lead to another.
You won't find any major 7ths in Hank Williams songs. Very Happy

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Jim Eaton · From: Santa Susana, Ca

If you go to the AB pedal down position of any chord and let off the "B" pedal, you have just lowered the root by 1/2 step and created a Maj7 without a root.
The bass player should cover you on that.
Example: play F at the 8th fret with AB, let off the B pedal and you have F Maj7. Most of the time you would call it Am, but if the bass player hits the F, you have F Maj7.
JE:-)>

Charles Davidson · From: Phenix City Alabama, USA

Mr. Clyde,You are right. Many years ago when I was playing six string,pop,rock,etc, Got a job one time with a HARD CORE country band. The first night I was throwing in some Dim,Aug,9ths,maj 6ths,etc, after the first set the band leader [I'm sure you know the kind,that thinks Crazy is a three chord song] told me,Son I don't like those fancy city things you are doing we are not playing JAZZ up here. It was hard but I did it his way. I WAS HUNGRY AND NEEDED THE GIG. YOU BETCHA,DYK?BC.
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Barry Hyman · From: upstate New York, USA

I've been there, Charlie, with the guys who think "Crazy" is a three chord song! I've met many singer-guitarists over the years who simplify everything to three major chords, usually all in the key of G.

And yes, as we used to say in Vermont, a major seventh chord will get you "pounded." Why, you ask, Ben? Because they sound pretty, and fancy, and jazzy, and pop, and definitely not like traditional country or blues or rockabilly, which all use seventh chords much more than major seventh chords. Too many major seventh chords and you have turned music into muzak...
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Brian McGaughey · From: Orcas Island, WA USA

Nathan Sarver · From: Washington State, USA

It seems like we're being a little hard on major 7th chords here when they're actually really cool guys once you get to know them. The two chord groove in Stevie Wonder's "Hey Love" is cool and groovy as hell without sounding syrupy. I love the major 7th chord at the end of the verse in The Beatles' "I'm Only Sleeping". The chord progression in "I'd Have You Anytime" by George Harrison has a cool spooky quality. Ditto for the intro and bridge to "Space Oddity". "Punky's Dilemma" by Simon & Garfunkel and "Pretty (Ugly Before)" by Elliott Smith are good examples of catchy pop uses of major 7th chords.

It is true that you won't find Hank Williams using major 7ths, but that got me wondering - is there a Hank Williams song with a minor chord?

Charles Davidson · From: Phenix City Alabama, USA

Yes,several. Two that come to mind are Kawliga and Alone and forsaken.there are more. YOU BETCHA,DYK?BC.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

Nathan Sarver · From: Washington State, USA

Thanks, Charlie.

I found one. "Ramblin' Man"

Dan Tyack · From: Olympia, WA USA

In terms of where to find them:

Say you are using a maj7 chord for the 4 chord, then going either to the 5 chord or 6mi. FOr instance, you are in G, and want to use a Dmaj7 chord for the 4 chord. A good voicing for a Dmaj7 would be (on the E9th neck) at the 12th fret on strings 9, 6 and 5, with both A and B pedals pressed. If you want to resolve to the E7th chord, just let go of the pedals.

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