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Major seventh

In music theory, the major seventh is an spanning eleven semitones between two pitches, representing the distance from the to the in a major scale, such as from C to B in the scale. This is classified as a major quality seventh, distinguishing it from the , which spans ten semitones, and it occurs naturally as the seventh scale degree in major keys. The major seventh also forms the upper extension in the (often notated as Maj7 or Δ7), which is constructed by adding a major seventh interval above the root of a , resulting in the pitches root, , , and major seventh— for example, C-E-G-B in C major seventh. This four-note chord, built by stacking thirds, is one of the primary types of seventh chords.

Interval Properties

Definition

The major seventh is a fundamental musical interval in Western music theory, spanning from a given to the seventh of the built on that , equivalent to eleven semitones in the . This interval represents the distance between the and the in a major key, creating a sense of tension just short of an . A classic example is the ascent from C to B in the scale, where the two notes form a major seventh. In notation, it is typically represented as M7 or maj7 to distinguish it as an shorthand. The designation "major" derives from its status as the larger variant among seventh intervals, exceeding the —which spans ten semitones—by one half step and imparting a brighter, more dissonant quality. This also serves as the defining upper extension in major seventh chords, enhancing harmonic color in various musical contexts.

Measurement and Quality

The major seventh measures exactly 11 semitones above the in the . Its ratio in is 15:8 (approximately 1.875:1), derived from combining a (3:2) and a major third (5:4). In 12-tone , the approximates this ratio at $2^{11/12} \approx 1.8877:1, which is about 12 cents wider than the just version, introducing subtle inharmonicity. This interval exhibits dissonant qualities primarily due to its expansive span—just one semitone shy of the consonant octave—generating acoustic tension through increased perceived roughness and beating frequencies between partials. In just intonation, the 15:8 ratio yields a relatively pure harmonic alignment with low beating, enhancing its shimmering yet unstable timbre, whereas equal temperament's tempered approximation amplifies the dissonance by deviating from natural overtones, making it sound more strained in ensemble contexts.

Chord Construction

Formation from Triads

The major seventh chord is constructed by extending a major triad—comprising the root, major third, and perfect fifth—with the addition of a major seventh interval above the root. This process yields a four-note tertian chord with the semitone intervals 0-4-7-11 from the root, where the major triad occupies 0-4-7 and the major seventh adds the note at 11 semitones. In standard notation, the major seventh chord is represented by symbols such as Maj7 or Δ7 appended to the root pitch. For instance, the C major seventh chord (Cmaj7 or CΔ7) consists of the notes C (root), E (major third), G (perfect fifth), and B (major seventh). The seventh note is added as a diatonic third above the triad's fifth, preserving the major triad's pitches and while ensuring smooth integration through the chord's stacked-third structure. This approach maintains harmonic coherence without disruptions, as the new note fits naturally into the existing framework.

Inversions and Voicings

The , like any , can be inverted by placing one of its non- notes in the , resulting in four distinct positions. In root position, the notes are typically voiced in close position as -third-fifth-seventh (1-3-5-7), with the serving as the . The first inversion rearranges to third-fifth-seventh- (3-5-7-1), with the third in the . The second inversion uses fifth-seventh--third (5-7-1-3), with the fifth as . The third inversion positions the seventh--third-fifth (7-1-3-5), with the seventh in the . These inversions are notated using slash chords, such as Cmaj7/E for first inversion ( E, the third of Cmaj7), Cmaj7/G for second inversion ( G, the fifth), Cmaj7/B for third inversion ( B, the seventh). Voicings of the vary in spacing and note selection to suit instruments like and guitar, often prioritizing the , third, and seventh for clarity. Close voicings stack the notes in compact , such as C-E-G-B for Cmaj7 in position, minimizing the span across registers. Open voicings spread the notes more widely, for example across both staves in arrangements, to create a fuller while maintaining integrity. Drop-2 voicings, common on guitar and , derive from a close-position by lowering the second-highest note an octave; for Cmaj7 in position (C-E-G-B close), dropping G yields G-C-E-B ( G, the fifth). Drop-3 voicings similarly lower the third-highest note, producing wider intervals suitable for playing. Shell voicings simplify to three notes—, third, and seventh—omitting the fifth, as in C-E-B or C-B-E for Cmaj7, providing an especially in comping. Register placement is crucial for major seventh chords to ensure clarity and avoid muddiness, particularly with the seventh note. The third and seventh are often positioned between middle C and F above it on , keeping tensions above the fourth line of the bass clef to prevent low-register congestion. On guitar, voicings typically span the middle registers (e.g., frets 3-8) to balance without clashing overtones.

Harmonic Function

Role in Progressions

The plays a significant role in harmonic progressions by providing a stable yet colorful extension of the or functions, often enhancing the overall structure without the strong pull toward characteristic of dominant seventh chords. In major keys, it commonly appears as the I chord, such as Cmaj7 in C major, where it serves as a sonority that adds richness to the foundation while maintaining tonal center stability. In standard progressions like the ii-V-I, the frequently occurs on the (I maj7), as in Dm7-G7-Cmaj7 in C major, completing the cycle with a sense of arrival and harmonic fulfillment. Additionally, sequences following circle-of-fifths motion, such as Amaj7-Dmaj7 in (I to IV), illustrate its use in stepwise and smooth transitions along , often employing root-position or inverted voicings to facilitate progression flow. As a substitution, the enhances the by replacing a plain with added depth, or bolsters the ( maj7) to introduce subtle dissonance that propels the progression forward without overt tension. However, due to the inherent dissonance of the major seventh interval, it is typically avoided in final cadences, where a simpler ensures clear and structural closure. Theoretically, the major seventh chord extends tertian harmony—the building of sonorities in stacked thirds—beyond the more common dominant seventh (with its minor seventh), allowing for fuller four-voice textures in non-dominant contexts and enriching the palette of diatonic progressions with a brighter, more open quality.

Tension and Resolution

The major seventh chord derives much of its tension from the major seventh interval, which forms a major second with the root's octave—a small interval prone to acoustic interference due to closely spaced overtones. In equal temperament, this configuration exacerbates the effect through audible beats between the seventh and nearby chord tones, such as the root's octave, arising from slight deviations in their frequency ratios from simple integer proportions. These acoustic properties render the chord unstable, demanding resolution to restore consonance. Resolution of the major seventh typically occurs through half-step motion in the affected voice, as seen in the (e.g., B in C major seventh) ascending to the (C), adhering to voice-leading principles that prioritize stepwise descent or ascent for the seventh to the nearest chord tone. Alternatively, the seventh may descend by step to the degree (e.g., B to B♭), facilitating smooth progression to a dominant or while avoiding parallel octaves or fifths. Such patterns ensure the dissonance integrates into broader harmonic flow without abrupt leaps. Perceptually, the major seventh evokes a of expectancy and heightened color, contrasting sharply with the stability of more intervals like the , as its prompts anticipation of release and imparts a luminous, unresolved quality to the . This stems from the chord's intermediate dissonance level, which listeners interpret as dynamic potential rather than outright instability, enhancing emotional depth in tonal contexts.

Applications in Music

Classical Usage

In Western classical music, the major seventh chord appeared infrequently during the Baroque era, often as a transient dissonance or arpeggiated figure rather than a structural harmony. For instance, Johann Sebastian Bach employed it sparingly in his chorales and keyboard works, where the major seventh typically functioned as a passing tone resolving downward to the sixth degree for added color without disrupting tonal stability. A notable example occurs in measure 4 of Bach's Prelude in C Major from The Well-Tempered Clavier, Book I (BWV 846), where a major seventh chord appears in arpeggiated form, creating a shimmering, open texture that sets the piece's flowing character. This usage reflects the era's preference for consonant triads, with seventh extensions treated as embellishments rather than essential chord tones. By the Classical period, the gained modest prominence for its timbral enhancement in sonatas and concertos, particularly in the hands of , who integrated it to provide subtle harmonic richness. Mozart's piano concertos similarly feature such chords for orchestral color, as seen in passages where the major seventh adds a layer of elegance to transitional phrases without the tension of dominant resolutions. This evolution marked a shift toward viewing the chord as a tool for expressive nuance in balanced, galant-style forms. The Romantic era saw further expansion of the , particularly in the chromatic and impressionistic harmonies of and , where it contributed to atmospheric tension and modal ambiguity. Wagner incorporated major seventh sonorities in his operas to heighten emotional intensity, often layering them within leitmotifs to blur traditional resolutions and evoke longing, as in the expansive harmonic palette of . Debussy, building on this, used major seventh chords more freely in his orchestral works to evoke seascapes and fleeting impressions; in La Mer (1905), they appear in undulating passages to create wave-like tension and iridescent color, aligning with his whole-tone and pentatonic explorations. These applications transformed the chord from a mere embellishment into a vehicle for psychological depth and sensory immersion. In the , Igor Stravinsky's neoclassical phase repurposed the through modal interchange, integrating it into polyrhythmic and bitonal structures drawn from earlier styles. In works like (1917), Stravinsky treats major seventh sonorities as borrowed elements from parallel modes, using them to juxtapose classical forms with modernist dissonance—for example, a striking major seventh harmony that shifts between major and Lydian inflections for rhythmic propulsion and ironic detachment. This approach highlighted the chord's versatility in evoking historical allusions while advancing rhythmic innovation.

Jazz and Popular Usage

In jazz standards, the plays a central role in the ii-V-I progression, providing a smooth resolution on the . For instance, in "Autumn Leaves," typically played in or its relative Bb major, the progression features a Cm7-F7-Bbmaj7 turnaround, where the Bbmaj7 emphasizes the major seventh (A) for a lush, conclusive sound characteristic of . Pianists like advanced the use of major seventh chords through rootless voicings, omitting the root to focus on the 3rd, 5th, 7th, and 9th for a more open, impressionistic texture in and contexts. These voicings, such as E-G-B-D for Cmaj7, allow flexibility in comping and create harmonic ambiguity that suits improvisational flow, as heard in Evans's accompaniments on recordings like Miles Davis's . In , the major seventh appears in ballads and R&B to add emotional depth and sophistication. The Beatles' "Something" employs a Cmaj7 in its verse progression (C-Cmaj7-C7-F), enhancing the song's introspective melody with a subtle, airy tension. Similarly, frequently incorporates major seventh extensions in R&B progressions, as in "," where a Bmaj13 (including the major seventh A#) drives the upbeat verse, blending influences with soulful grooves. For , major seventh arpeggios serve as foundational tools, outlining tones (, major 3rd, 5th, major 7th) to navigate changes with precision and melodic intent in solos. Guitarists and other instrumentalists practice these arpeggios across all keys to target harmonic targets, fostering lines that "play the changes" effectively. In and fusion, inspired by Miles Davis's "So What," variants incorporate major seventh over modes; for example, building a Dmaj7 from the I, II, and III degrees of D adds color to the static harmony, extending the tune's minimalist structure into more expansive improvisations.

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