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Major 7th Chords Guitar Lesson

Home > Guitar Lessons > Beginners > Basic Guitar with David Anthony > Major 7th Chords
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David Anthony

Major 7th Chords

David Anthony covers the major 7th chords. The major 7th chords offer a very unique sound that is quite popular in jazz.

Taught by David Anthony in Basic Guitar with David Anthony seriesLength: 24:10Difficulty: 2.5 of 5
Chapter 1: (0:46) Intro Music As always, David plays some nice intro music. Go grab your guitar and tune up!
Chapter 2: (0:31) Welcome to the Lesson This is the fourth installment in David’s jazz chord series. In this lesson David will teach the two common movable shapes for MA7 chords. One shape has its root on the fifth string. The second shape David demonstrates has its root on the sixth string.

Although these shapes are often referred to as “jazz” chords, they are seldom used in jazz accompaniment. They do find their way into the jazz genre in solo guitar arrangements however.
Chapter 3: (1:49) What is a Major 7th Chord Let’s examine the MA7 chord from a theoretical standpoint. The foundation for any MA7 chord is a simple major triad. For the sake of review, a major triad is spelled with scale degrees 1, 3, and 5 from the major scale. In the case of the MA7 chords, the 7 is added to form the chord. Let’s take a quick look at DMA7:

To spell a DMA7 chord, first start with the D major scale. From the Circle of Fifths diagram, we can deduce that the key of D contains two sharps in the key signature: F# and C#. Thus, a D major scale is spelled D, E, F#, G, A, B, C#, D.

Now, find the 1st, 3rd, 5th, and 7th scale degrees. The chord is spelled D, F#, A, C#. These are the notes that comprise a DMA7 chord.
Chapter 4: (4:01) A Major 7th hand fingers that you will be using to fret this chord. The sixth string is played with the first finger. In this shape, the A string is muted by the 1st finger. The third finger will fret G#, the 7th of the chord, at the sixth fret of the D string. The 4th finger plays the third fret of the G string. Lastly, finger 4 plays E at the 5th fret of the B string. Be careful not to strum the high E string! It is not part of the chord!

Note: Click the “Supplemental Content” tab for complete diagrams of chords discussed in this lesson.

David also demonstrates a very popular open chord shape for AM7. The fingering for this chord is quite similar to the basic open A major chord. The only difference is that the A note on the G string is lowered one half step. The resulting note is G#, giving the chord its characteristic MA7 sound. Try replacing the basic A chord with this new voicing in progressions that you have already learned. What differences do you hear?
Chapter 5: (3:00) B Major 7th This scene introduces the second common, movable MA7 chord shape. David refers to this shape as the “1, 3, 2, 4” chord shape. Once again, this refers to the order of fingers used to fret the chord.
Chapter 6: (2:12) C Major 7th In this scene, David gives you two different options for playing CMA7. The first option is the movable “1, 3, 2, 4” shape. Take the shape you learned for BMA7 and slide the whole shape up a half step. The second option is the “1, 3, 4, 2” shape. The root of this chord is on the 6th string at the eighth fret.

A third option for CMA7 is an open chord voicing. Start with the basic shape for an open C chord. Then, lift up your first finger so that the B string is ringing open. This B note is the 7th scale degree.
Chapter 7: (2:25) D Major 7th The same movable shapes also work for DMA7. Be sure that you are playing the correct root! On the 6th string, D is at the tenth fret. On the 5th string, D is found at the fifth fret.
Chapter 8: (2:24) E Major 7th To form an EMA7, start with the basic open E chord shape. As you learned earlier in this lesson, lower one of the upper octaves of E by a half step. In the case of this chord shape, we will lower the E on the 4th string to a D#. In order to play this chord, you will have to devise a brand new fingering.

Note: Click the “Supplemental Content” tab for a detailed diagram of this chord fingering.

This chord can also be played using the two moveable chord shapes you have already learned.
Chapter 9: (2:09) F Major 7th There are three viable options for playing this chord. Once again, the two moveable shapes are quite practical options for FMA7. FMA7 can also be played as an open chord. Start with the basic 1st position F chord with the barre across the E and B strings. Lift up your first finger so that you are no longer forming a barre. The high E string should now be open. Now you have FMA7.
Chapter 10: (1:19) G Major 7th The two movable chord shapes are the best options for GMA7. Some less practical shapes will be discussed in future chord lessons.
Chapter 11: (3:29) Final Thoughts on Major 7th Chords Now that you have learned several different ways to play each of the MA7 chords, it is time to apply them. Take any chord progression that you have learned that involves major and minor chords. Try substituting the major chords for MA7 chords. Substitute the MI7 chords for the basic minor triads. This will drastically change the sound of the progression. For example, play a basic I IV V progression in the key of G. These chords are G, C, and D respectively. Now, substitute GMA7 for G. The progression still sounds great and functions the same way. However, the new progression has a different feel and overall tonal color to it. This concept will be discussed in greater detail in the following lesson.
  • A Major 7th Chord
  • B Major 7th 1
  • B Major 7th 2
  • C Major 7th 1
  • C Major 7th 2
  • D Major 7th
  • D Major 7th 2
  • E Major 7th 2
  • F Major 7th
  • F Major 7th 2
  • G Major 7th 2
  • G Major 7th
  • A Major 7th Chord
  •  



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Member Comments about this Lesson

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cellfccellfc replied on May 4th, 2009

The supplemental content has a D Mayor 7, that is not the same as the one Anthony is teaching!!!! @#$$%^^&**((I'm confused)

sway2sway2 replied on October 19th, 2009

the funny looking D major &th in the supplemental part is an A major6 not a D major 7th

Basic Guitar with David Anthony

Found in our Beginner Lesson Sets

David Anthony is an acoustic guitar aficionado. In this series you will learn basic concepts that are essential to playing any style of guitar music.



About David Anthony View Full Biography David Anthony was born David Anthony Volckmann, on November 9th, 1982, in the small town of Mount Hope, NY. As a child he absorbed the church flavored musical environment that his parents provided. With this influence he realized at a young age that music would not simply be a passive experience for him. It was not until the age of 15 that he decided to string up his first guitar. Relying solely on his father for his foundational chord knowledge, he quickly became enamored with the possibility of endless melodic structures, and the goal of becoming a fantastic player himself.

His early shredder influences came from Kirk Hammet of Metallica. During his first few years of guitar playing, he developed a very workable knowledge of pentatonic, major and minor scales. Over the years his musical interests swayed from rock to standards, from jazz to classical, and a strong love of the art of flamenco guitar; Spanish finger style. It was not until the age of 18 that he decided to surround himself entirely with the music of Steve Vai and Joe Satriani. This influential exclusivity enabled him to learn more about thinking outside of the musical box. In one year he had learned than in the prior 3 years. Picking up multiple ways to structure melodies, create chords and use different modes, his writing and improvisational abilities grew exponentially. In his senior year of high school, he was responsible for the development of the first Musical Appreciation class in the schools history, and had aided the instructor in the teaching of those classes.

After high school, his focus started to rest mainly in writing. With this he realized that he would need additional, abstract influences to develop a unique style of writing. After a couple more years of playing in a small band, and writing some decent material, he greeted 2004 with a move to Nashville, TN. There he found the exact influence that would change his opinion of the guitar forever. Attempting to weed out a strong foundation in shredding and solo techniques, he began learning finger style guitar, and quickly realized the options that his door would open for him.

As he picked up more complex chord structures and jazz scales, his style became a passion for him that continues to drive him and push him to learn more. He feels strongly about the connection between musical input and the music you write. He notes that his subconscious pool of influence, developed from the music he listens to, is almost directly responsible for the type of music that he writes. He adamantly believes that in order to create a unique, soulful style, the pool must remain unpolluted by substandard music. What's that mean? As David puts it, "If you don't want to play crap, don't listen to crap."

David currently teaches Jazz guitar in Fort Collins, Colorado, with plans to move back to Nashville in the spring to pursue a career in writing.

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