Previous page:  |
Gmaj7 |
Next page:  |
| Previous page: maj7 |
Next page: 6/9 |
Gmaj7
The Gmaj7 has the notes G-B-D-F#. It is constructed by adding a major seventh to the basic G-major triad.
I find it useful to break down chords with 4 or more notes into triads, to see how various chords relates. It makes it easier to understand chord construction and chord substitution. A Gmaj7 is of course a B-major with an added F#. But if we look at the three top-notes when the chord is in root position, they form a Bm chord. In my ears, the maj7 sounds a bit "minorish", and I think that is the explanation.
We can compare them in this table:
| G |
G |
- |
B |
- |
D |
|
|
|
|
| Gmaj7 |
G |
- |
B |
- |
D |
- |
F# |
|
|
| Bm |
|
|
B |
- |
D |
- |
F# |
|
|
You see that all the notes of a Bm chord are also found in the Gmaj7 chord. We can say that the Gmaj7 is the note G + a Bm chord, or a C chord + the note B.
The typical application of the Gmaj7 chord in a major context, is as the primary I-chord in G-major and IV-chord in D-major. Go to The harmonized G-major scale and The harmonized D-major scale to see the Gmaj7 in these harmonic contexts.
| Open positions |
 |
 |
|
|
|
|
| As the open 4th, 3rd and 2nd string form a G-chord, and they are all part of the Gmaj7, you can always play these strings open in addition to the fretted notes in any chord where these strings are not fretted. But I have not indicated this the chord diagrams. |
Back to TOP
| Barré chord positions |
 |
3 fr |
 |
10 fr |
 |
12 fr |
 |
12 fr |
|
|
| Notice that you have the 1 (root) in the bass and the 7th on top in the first fingering, and 7th in the bass and 1 on top in the second. You will probably usually prefer the first, but it depends on the context. |
|
 |
5 fr |
|
|
|
|
|
|
|
|
|
Back to TOP
| 1. inversion |
 |
5 fr |
 |
5 fr |
 |
12 fr |
|
|
|
|
|
|
Back to TOP
| 2. inversion |
 |
10 fr |
 |
4 fr |
 |
5 fr |
|
|
|
|
|
|
| 3. inversion |
 |
12 fr |
 |
7 |
|
|
|
|
|
|
|
|
|
Back to TOP
| 1. Inversion |
 |
5 fr |
 |
12 fr |
 |
8 fr |
|
|
|
|
|
|
|
| 2. Inversion |
 |
9 fr |
 |
9 fr |
 |
5 fr |
 |
12 fr |
|
|
|
|
|
Back to TOP
| Skip string voicings - Root position |
 |
|
 |
|
 |
|
 |
10 fr |
|
|
|
|
|
|
 |
9 fr |
|
|
|
|
|
|
|
|
|
|
|
| Skip string voicings - 1. inversion |
 |
5 fr |
 |
12 fr |
 |
5 fr |
 |
12 fr |
|
|
|
|
|
| Skip string voicings - 2. inversion |
 |
10 fr |
 |
5 fr |
|
|
|
|
|
|
|
|
|
| Skip string voicings - 3. inversion |
 |
12 fr |
 |
|
 |
77 fr |
|
|
|
|
|
|
|
Back to TOP
As said many times in this series: The root gives the chord identity, the third gives character and the fifth gives stability. When it is a 7th chord, the 7th gives character and identity as a 7th chord. We can leave out the fifth and still keep the identity and the character of the chord. The following voicings are such chords, with just the root, third and seventh. |
Back to TOP
|
 |
3 fr |
|
|
|
|
|
|
|
|
|
|
|
Back to TOP
|
 |
2 fr |
 |
12 fr |
|
|
|
|
|
|
|
| Previous page: | Previous page: maj7 |  | Next page: 6/9 | Next page: |
