> Why Add the 7th?
Triads contain three notes: root, 3rd, and 5th. Seventh chords add one more note: the 7th scale degree. This fourth note creates richer harmony and introduces new tension and color possibilities.
The 7th sits close to the root (either one or two semitones below the octave). This proximity creates tension that wants to resolve. Different types of 7ths create different types of tension.
Triad vs Seventh Chord:
C Major Triad: C - E - G (3 notes)
C Major 7: C - E - G - B (4 notes)
The B adds sophistication and a dreamy quality to the otherwise plain major chord.
Seventh chords appear constantly in jazz, R&B, funk, and contemporary pop. They are the standard harmonic vocabulary for anything beyond basic rock and folk progressions.
> Major 7th Arpeggio: Dreamy and Sophisticated
The major 7th arpeggio contains root, major 3rd, perfect 5th, and major 7th. The formula is 1 - 3 - 5 - 7.
Major 7th Arpeggio Construction:
Root (1): Foundation note
Major 3rd (3): 4 semitones above root
Perfect 5th (5): 7 semitones above root
Major 7th (7): 11 semitones above root
Example: Cmaj7 = C - E - G - B
The major 7th interval (11 semitones) creates a bittersweet, floating quality. It sounds sophisticated and contemplative. Neo-soul, R&B ballads, and jazz standards use maj7 chords extensively for this emotional character.
The major 7th is only one semitone below the root. This closeness creates gentle tension that does not demand resolution. The chord can sit and breathe.
> Minor 7th Arpeggio: Smooth and Soulful
The minor 7th arpeggio contains root, minor 3rd, perfect 5th, and minor 7th. The formula is 1 - b3 - 5 - b7.
Minor 7th Arpeggio Construction:
Root (1): Foundation note
Minor 3rd (b3): 3 semitones above root
Perfect 5th (5): 7 semitones above root
Minor 7th (b7): 10 semitones above root
Example: Dm7 = D - F - A - C
The combination of minor 3rd and minor 7th creates a mellow, sophisticated minor sound. This is the ii chord in jazz ii-V-I progressions. It is smooth and inviting rather than dark or heavy.
Minor 7 chords dominate funk, R&B, and soul. The laid-back quality makes them perfect for groove-based music. When you hear classic soul guitar, you are often hearing m7 arpeggios outlining the harmony.
> Dominant 7th Arpeggio: Tension and Blues Power
The dominant 7th arpeggio contains root, major 3rd, perfect 5th, and minor 7th. The formula is 1 - 3 - 5 - b7. Notice the major 3rd combined with minor 7th.
Dominant 7th Arpeggio Construction:
Root (1): Foundation note
Major 3rd (3): 4 semitones above root
Perfect 5th (5): 7 semitones above root
Minor 7th (b7): 10 semitones above root
Example: G7 = G - B - D - F
This combination creates maximum harmonic tension. The major 3rd is bright. The minor 7th pulls downward. Together they create an unstable chord that strongly wants to resolve to a tonic chord one fourth above (or one fifth below).
Dominant 7th is the V7 chord in functional harmony. It creates the classic V7 → I resolution that defines Western music. It is also the chord type used throughout blues, where every chord is often a dominant 7th.
> The Emotional Character of Each Type
Each seventh chord type has a distinct emotional fingerprint:
Dreamy, nostalgic, sophisticated. Think bossa nova, neo-soul ballads, film scores. Creates a sense of beauty and reflection.
Smooth, cool, mellow. Think funk rhythm guitar, R&B grooves, laid-back jazz. Creates a sense of ease and sophistication.
Tense, bluesy, urgent. Think blues shuffles, rock resolutions, jazz cadences. Creates a sense of movement and expectation.
Learning to hear these differences transforms your playing. You know which arpeggio to reach for based on the emotional content you want to express, not just the chord symbol on the page.
> How to Visualize on Guitar
Seventh chord arpeggios build on triad shapes. Start with a triad position you know, then find where the 7th falls relative to the root.
Adding the 7th to Triads:
- Major 7: Major triad + major 7th (one semitone below the root)
- Minor 7: Minor triad + minor 7th (two semitones below the root)
- Dominant 7: Major triad + minor 7th (two semitones below the root)
Minor 7 and Dominant 7 both use the b7 interval, but over different triads. The triad quality (major vs minor 3rd) is what distinguishes them.
Each CAGED position offers different fingerings for the 7th. Some shapes put the 7th on the same string as the root. Others spread it across strings. Learn multiple options for flexibility.
The 7th extends the triad vertically. Your arpeggio now spans more of the fretboard. This larger range creates more melodic possibilities and smoother voice leading between chords.
> When to Use Each Type
Just as triads have a diatonic pattern (I-ii-iii-IV-V-vi-vii°), seventh chords built from each scale degree follow a predictable pattern:
Diatonic Seventh Chords in Major Keys:
Imaj7: Major 7th (tonic function)
iim7: Minor 7th (subdominant function)
iiim7: Minor 7th (tonic substitute)
IVmaj7: Major 7th (subdominant function)
V7: Dominant 7th (dominant function)
vim7: Minor 7th (tonic substitute)
viiø7: Half-diminished 7th (dominant substitute)
Pattern: maj7 - m7 - m7 - maj7 - dom7 - m7 - ø7. Memorize this once, apply everywhere.
The classic jazz ii-V-I progression demonstrates all three types: Dm7 (m7) → G7 (dom7) → Cmaj7 (maj7). Each arpeggio type appears in sequence, creating smooth voice leading and clear functional movement.
> Common Mistakes
Cmaj7 and C7 are different chords. Maj7 has a major 7th (B). Dominant 7 has a minor 7th (Bb). The notation matters: "maj7" vs plain "7".
The minor 7th of a dominant arpeggio clashes with the major 7th of a maj7 chord. Match the arpeggio type to the chord type exactly.
The 7th adds the color that distinguishes seventh chords from triads. If you only play 1-3-5, you miss what makes the chord special.
Seventh arpeggios shine in progressions. Practice moving from m7 to dom7 to maj7 smoothly. The transitions matter as much as the individual shapes.
> Building Toward Musical Application
Seventh chord arpeggios are the vocabulary of sophisticated guitar playing. Jazz, fusion, neo-soul, and contemporary R&B all rely on these four-note structures to outline harmony.
In Level 5, you will learn to use these arpeggios over real progressions, connecting them smoothly as chords change. For now, focus on hearing the distinct character of each type and knowing which chord calls for which arpeggio.
The 7th is not optional decoration. It is essential information that defines the chord's function and color. When you include it in your playing, you sound like you understand the harmony, not just the scales.
> PRACTICE THIS
Open the Arpeggio Trainer and practice a ii-V-I in C major: Dm7 → G7 → Cmaj7. For each chord, identify all four notes (root, 3rd, 5th, 7th) and play them in sequence. Listen for how each 7th type sounds different. Then try connecting them smoothly, finding common tones between adjacent chords.
Open Arpeggio Trainer