Four commonly seen seventh chords

Symbol Correct notes Interval of seventh above root What to remember
C7 C–E–G–B♭ Minor seventh, 10 semitones Major triad + minor seventh
G7 G–B–D–F Minor seventh, 10 semitones Often leads toward C
Am7 A–C–E–G Minor seventh, 10 semitones Minor triad + minor seventh
Cmaj7 C–E–G–B Major seventh, 11 semitones Do not confuse with C7

Am7 contains a minor third C, whereas C7 contains a major third E; do not assume the chord quality is determined by the seventh alone.

Original three-bar contrast

Play bar 1 C7 (C E G B♭) on beat 1 and sustain; bar 2 Cmaj7 (C E G B); bar 3 Am7 (A C E G). Count all four beats before each change. Focus on the half-step B♭→B as you move between the first two bars. Then try a small four-bar accompaniment | Cmaj7 | Am7 | G7 | C | to hear G7 returning to a plain major home chord.

Practical voicing limits

Four chord tones may be awkward in one hand. Play roots with the left hand while the right plays three upper notes, or omit duplicate roots when the bass already supplies them. A common simplified G7 voicing is B–D–F over low G, preserving its defining third and seventh. This is a beginner arrangement, not a complete definition of jazz harmony.

Ear test

Without looking, compare C7 and Cmaj7 twice. Try to sing their differing top note, then use the keyboard to check. If you cannot hear it, play just B♭ and B alternately before adding the rest of each chord. For context see 12-bar blues and chord symbols.

Sources and scope

Source and topic references checked 28 October 2026. The linked articles/course outlines substantiate the indicated general principles and coverage, not our precise original exercise, performance effectiveness, or a first-hand review. Music studies here were independently composed for this site; external musician review before publishing is still outstanding.