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[[File:Minor major seventh chord on C.png|thumb|Minor major seventh chord on C.<br/> i<math>_M^7</math> in C [[Minor scale#Harmonic and melodic minor|harmonic]] or [[minor scale|ascending melodic minor]].<ref>Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.230. Seventh Edition. ISBN 978-0-07-294262-0.</ref>]]
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{{Infobox chord|
chord_name=minor/major seventh chord|
first_interval=[[Root (chord)|root]]|
second_interval=[[minor third]]|
third_interval=[[perfect fifth]]|
fourth_interval=[[major seventh]]|
tuning=[[just intonation|40:48:60:75]]|
forte_number=4-Z29|
complement=8-Z29
}}
 
A '''minor major seventh chord''', or '''minor/major seventh chord''' {{Audio|Minor major seventh chord on C.mid|play}} (written as m<sup>M7</sup>, m<sup>Δ7</sup>, -<sup>Δ7</sup>, mM7, m/M7, m(M7), min<sup>maj7</sup>, m⑦,m<sup>({{Music|natural}}7)</sup>, etc.), is a naturally occurring [[diatonic and chromatic|diatonic]] [[nondominant seventh chord]] in the [[harmonic minor scale]]. The [[chord (music)|chord]] is built on a [[root (chord)|root]], and above that the [[interval (music)|intervals]] of a minor third, a major third above that note and above that a major third (see infobox). It can also be viewed as taking a [[Minor chord|minor triad]] and adding a major seventh. The traditional [[Numbered musical notation|numerical notation]] is based on the [[degree (music)|degrees]] of the major [[diatonic scale]], and by this notation a minor major seventh chord is degrees 1, {{music|b}}3, 5, 7 of the [[major scale]]. For instance, the Cm<sup>M7</sup> chord consists of the notes C, E{{music|b}}, G, and B. The chord can be represented by the [[Pitch class#Integer notation|integer notation]] {0, 3, 7, 11}.
 
The chord occurs on the [[tonic (music)|tonic]] when harmonizing the harmonic minor scale in [[seventh chord]]s. The harmonic minor scale contains a [[major seventh|raised seventh]], creating a [[minor second]] interval between the seventh and the octave of the tonic. This half step creates a pull ([[leading tone]]) to the tonic that is useful in [[harmony|harmonic]] context and is not present in the natural minor scale (also known as the [[Aeolian mode]]). Traditionally, in classical and jazz contexts, when building a chord on the [[dominant (music)|dominant]] of the minor tonality, this raised seventh is present, and so both of these chords have a strong pull to the tonic. The raised seventh, in conjunction with the minor third, creates the [[consonance and dissonance|dissonant]] sonority of an [[augmented triad]] within the chord.
 
[[File:bIII+.png|thumb|{{music|b}}III<sup>+</sup> {{audio|bIII+.mid|Play}}. [[Augmented triad]] in the minor major seventh chord.]]
 
The minor major seventh chord is most often used in [[jazz]], typically functioning as a minor tonic. Jazz musicians usually [[improvise]] with the melodic minor scale over this chord; the harmonic minor scale is also used. Additionally, [[Bernard Herrmann]]'s use of this chord – most notoriously in his score for ''[[Psycho (1960 film)|Psycho]]'' – has earned it the nickname, "The [[Alfred Hitchcock|Hitchcock]] Chord".<ref>Brown, Royal (1994). ''Overtones and Undertones: Reading Film Music'', chapter 6. ISBN 0-520-08544-2. cited in Sullivan, Jack (2006). ''Hitchcock's Music'', p. 285. ISBN 0-300-11050-2. Cooper, David (2005). ''Bernard Herrmann's The ghost and Mrs. Muir: a film score guide'', p. 167. ISBN 0-8108-5679-4. and Donnelly, Kevin (2005). ''The Spectre of Sound: Music in Film and Television'', p. 108. ISBN 1-84457-025-8.</ref> In [[flamenco]], guitarists often use this chord as an abstract chord to create atmosphere and it gives a Moorish feel with the tension between the minor and major. This chord also appears in [[classical music]], but it is used more in the late Romantic period than in the Classical and Baroque periods. One notable use is in the fourth movement of Samuel Barber's [[Piano Sonata (Barber)|piano sonata]]; the subject of the fugue begins with a minor major seventh chord and the chord is heard many times throughout the fugue.{{citation needed|date=May 2012}}
 
[[File:Minor major seventh chord on IV in C.png|thumb|Minor major seventh chord on IV in C: '''F''', A{{music|flat}}, C, E. {{audio|Minor major seventh chord on IV in C.mid|Play}}]]
The chord, infrequent in [[rock music|rock]] and [[popular music]], is, "virtually always found on the fourth scale degree in the major mode", thus making the seventh of the chord the [[mediant|third]] of the scale and perhaps explaining the rarity of the chord, given the "propensity of the third scale degree to be lowered as a [[blue note|blues alteration]]."<ref name="Stephenson">Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p. 87. ISBN 978-0-300-09239-4.</ref> In C: F, A{{music|flat}}, C, E. Examples occur in [[Lesley Gore]]'s "[[It's My Party (song)|It's My Party]]" (see also [[augmented triad]]), [[the Chiffons]]' "[[One Fine Day (song)|One Fine Day]]", [[Mariah Carey]]'s "[[Vision of Love|Vision Of Love]]", [[Pink Floyd]]'s [[Us and Them (song)|Us and Them]], [[Toni Braxton]]'s "[[I Don't Want To]]", and [[The Beatles]]' "[[Magical Mystery Tour (song)|Magical Mystery Tour]]".<ref name="Stephenson"/>
 
==Minor major seventh chord table==
{| class="wikitable"
!bgcolor=#dddddd|Chord
!bgcolor=#dddddd|Root
!bgcolor=#dddddd|Minor Third
!bgcolor=#dddddd|Perfect Fifth
!bgcolor=#dddddd|Major Seventh
|-
!Cm<sup>M7</sup>
|C
|E{{music|b}}
|G
|B
|-
!C{{music|#}}m<sup>M7</sup>
|C{{music|#}}
|E
|G{{music|#}}
|B{{music|#}} (C)
|-
!D{{music|b}}m<sup>M7</sup>
|D{{music|b}}
|F{{music|b}} (E)
|A{{music|b}}
|C
|-
!Dm<sup>M7</sup>
|D
|F
|A
|C{{music|sharp}}
|-
!D{{music|#}}m<sup>M7</sup>
|D{{music|#}}
|F{{music|#}}
|A{{music|#}}
|C{{music|##}} (D)
|-
!E{{music|b}}m<sup>M7</sup>
|E{{music|b}}
|G{{music|b}}
|B{{music|b}}
|D
|-
!Em<sup>M7</sup>
|E
|G
|B
|D{{music|#}}
|-
!Fm<sup>M7</sup>
|F
|A{{music|b}}
|C
|E
|-
!F{{music|#}}m<sup>M7</sup>
|F{{music|#}}
|A
|C{{music|#}}
|E{{music|#}} (F)
|-
!G{{music|b}}m<sup>M7</sup>
|G{{music|b}}
|B{{music|bb}} (A)
|D{{music|b}}
|F
|-
!Gm<sup>M7</sup>
|G
|B{{music|b}}
|D
|F{{music|#}}
|-
!G{{music|#}}m<sup>M7</sup>
|G{{music|#}}
|B
|D{{music|#}}
|F{{music|##}} (G)
|-
!A{{music|b}}m<sup>M7</sup>
|A{{music|b}}
|C{{music|b}} (B)
|E{{music|b}}
|G
|-
!Am<sup>M7</sup>
|A
|C
|E
|G{{music|#}}
|-
!A{{music|#}}m<sup>M7</sup>
|A{{music|#}}
|C{{music|#}}
|E{{music|#}} (F)
|G{{music|##}} (A)
|-
!B{{music|b}}m<sup>M7</sup>
|B{{music|b}}
|D{{music|b}}
|F
|A
|-
!Bm<sup>M7</sup>
|B
|D
|F{{music|#}}
|A{{music|#}}
|-
|}
 
==Sources==
{{reflist}}
 
{{Chords}}
 
{{DEFAULTSORT:Minor Major Seventh Chord}}
[[Category:Seventh chords]]

Latest revision as of 02:47, 28 May 2014

Hi there, I am Alyson Pomerleau and I believe psychic solutions by lynne (cpacs.org) it sounds quite good when you say it. My working day job is an information officer free psychic - http://modenpeople.co.kr/modn/qna/292291 - but I've currently applied for an additional one. I've always loved residing in Mississippi. It's not a typical thing but what she likes doing is to play domino but she doesn't have the time lately.

my page ... spirit messages (http://alles-herunterladen.de/excellent-advice-for-picking-the-ideal-hobby)

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