Major 7th Harmony
The major 7th interval is a fundamental interval in jazz harmony. Besides being in a major 7th chord, the major 7th interval is also found in #11, 13th chords, alt chords, and inversions of chords such as a 7b9. In all cases, these chords have a rich sounding harmony that immediately identifies the sound as “jazz”, and their liberal use is always recommended.
1_____________________________________________________________________
2______________________________________12(6___________________________
3______________________________5_______12_______3L____________________
4____2(7______9_______9(7________________________3____________________
5_____________________9________5_______12(5______3(5__________________
6____2________9_______9(6________________________3(6__________________
7____2________________9________5(8_______________3____________________
8_____________________9_______________________________________________
9_____________9_______9_______________________________________________
10____________________________________________________________________
Dmaj7 Dmaj7 D7#11 D7#9 D7#9 D7b9
(1) (2) (3) (4) (5) (6)
The main point of this exercise is to understand chord voicings that have major 7th intervals.
The most common occurence of the major 7th interval is in major 7th chords. Chords (1) and (2) are the two main positions for playing the major 7th
chord. As always, the voicing is shown as minimal with three notes. However, all other notes at the fret between strings 1 and 8 can be played since they are repetitions of notes or extensions of the major 7th chord.
In the case of chord (1), I would prefer to play string 10 rather than string 7 as the root since it has a better bass sound. However, the interval
between string 10 and string 4 is technically a major 7th interval PLUS an octave. It's a matter of style which one you prefer to play, string 7 or string 10. Some of the other forms have several names depending on the function. For example, (4) and (5) is a D7#9 (without a root). Therefore, it works in the key of G as an dominant alteration of the D7. HOWEVER, the notes also form an Ab13 (also, without a root). Therefore, that chord would work in the key of Db as an extension of an Ab7.
Similarly, chord (3) can be named a D7#11 or Ab7alt. Even though chord (3) has 6 notes in it, they are all necessary to fully voice the harmony, which has both the dominant 7th and major 7th interval, and the root. Chord (6) is an inversion of a D7b9, which has a major 7th interval between the b9 on string 7 and root on string 3. It is also an
Ab7b9#11, without a root. As always, in all forms, it is preferable to include the root when possible in order to develop a clear concept of chord motion (tension and resolution). However, in a band or combo, if the bass player covers the note, then an optional voicing without a root is acceptable.
Many of these forms are very useful for doing chord substitutions/re-harmonizing, in which case the root note is vital for bringing attention to the substitution.
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