Gm(maj7) G minor-major seventh chord
- Notes
- G Bb D F#
- Formula
- 1 b3 5 7
- Semitones
- 0 3 7 11 above the root
- Other symbols
- GmM7, Gm(Δ7), Gmin(maj7)
G to Bb is a minor third (3 semitones), Bb to D is a major third (4 semitones), D to F# is a major third (4 semitones). A minor triad with a major seventh, F#, a half step below the root. The minor third Bb and the major seventh make an augmented triad (Bb D F#) inside the chord, which gives it its tense, suspenseful sound.
Gm(maj7) on the piano
Root position from G4: G4, Bb4, D5, F#5. Middle C is C4.
Gm(maj7) on the guitar
Standard tuning (E A D G B E). Strings run low E on the left to high e on the right, frets downwards; × is a muted string, ○ an open string, and each dot shows the note it sounds, with the root in blue-green. Every shape below has G as its lowest note.
3 x 4 3 3 x (low E to high e)
Sounds G2 F#3 Bb3 D4
x 10 12 11 11 10 (low E to high e)
Sounds G3 D4 F#4 Bb4 D5
The E-shape and A-shape grips are movable: an E-shape chord's root is the note under your first finger on the low E string, an A-shape chord's root is the note on the A string. Slide the same grip up or down to play minor-major seventh chords on other roots.
Inversions of Gm(maj7)
An inversion puts a note other than the root in the bass. The name is what semicord's chord finder calls those notes played bottom to top; a slash name like C/E means a C chord with E in the bass.
| Position | Notes, bass first | Named | Listen |
|---|---|---|---|
| Root position | G Bb D F# | Gm(maj7) | |
| 1st inversion | Bb D F# G | Gm(maj7)/Bb | |
| 2nd inversion | D F# G Bb | Gm(maj7)/D | |
| 3rd inversion | F# G Bb D | Gm/F# (also read as Gm(maj7)/F#) |
Where Gm(maj7) fits
Gm(maj7) is i(maj7) in G minor. Most often it is a passing chord in the descending line Gm → Gm(maj7) → Gm7 → Gm6, where one voice falls a half step at a time from G. The first four bars of the jazz standard "My Funny Valentine" (Cm, Cm(maj7), Cm7, Cm6 in C minor) are exactly that line.