If intervals are the combinations of two different notes, and triads are the chords made up of three different notes, then 7th-chords (AKA 4-part chords) are chords made up of four different notes.
In case you need to jump to any other article, you can just click on any of them:
Simples Intervals -> Compound Intervals -> Triads -> Drop-2 Chords -> Drop-3 Chords -> Shell Chords & Extensions -> Triads & Extensions -> Arranging with Drop-2 Chords -> Guitar Arpeggios
WHAT ARE 7th-CHORDS?
7th-chords are the same triads we have worked on in the previous article, but now with an extra chord tone added to them, the “seventh”. Remember, chord tones are the notes we use in the formation of chords, so generally speaking, the root, the third, the fifth, and the seventh are chord tones. Any extra notes added to the chords such as: add9, add13, add11, are considered tensions, although there might be a few exceptions and we are going to see some of them by the end of this article. If you take a look at the table of simple intervals from the first article, you’ll see that we have three different types of seventh intervals: the major seventh, the minor seventh, and the diminished seventh, and by combining them to the different triads, we will get 13 different 7th-chords: major 7th, minor 7th, dominant 7th, half-diminished, diminished 7th, minor major 7th, seventh suspended 4th, major 7th (#5), major 7th (b5), dominant 7th (#5), dominant 7th (b5), major 6th, and minor 6th.
4-WAY CLOSE CHORDS
4-way close chords are ones where all the chord tones are placed within the range of one octave. Before showing you a 4-way close chord on the fretboard, let’s break down the Cmaj7 chord to use it as an example. The Cmaj7 chord is a major triad with a major seventh interval above the root, or it could be described as Root 3, 5, 7 with C as the root, E as the major third, G as the perfect 5th, and B as the major seventh (if you don’t understand what these intervals mean, read the “Simple Intervals” article). The following two examples show how this chord can be played either on the higher set of strings or on the middle set of strings:
[Cmaj7 in 4-way close on the higher strings]
[Cmaj7 in 4-way close on the middle strings]
Of course, if you measure the distance between the lowest note C and the highest note B, we’ll have the maximum of a major seventh interval, which is less than one octave, so we consider them as being in the 4-way close format.
PROBLEMS WITH 4-WAY CLOSE CHORDS
The main problem with 4-way close chords is that their inversions can’t easily be played on any set of strings, not to mention that even the root-position would be quite challenging to be played on the lower set of strings:
[Cmaj7/E in 4-way close on the higher strings]
[Cmaj7/E in 4-way close on the middle strings]
[Cmaj7 in 4-way close on the lower strings]
These chords are commonly played on the piano, but given the limitations of our instrument, guitarists had to come up with new ways to reorganize these chords. Remember, if we speak in different ways or in different orders to play the same notes, we are speaking of voicings. Both 4-way close chords and Drop-2 chords are different voicings to play the same chords, and any of the following formats that we might end up studying here are considered voicings too: closed triads; open triads; 4-way close; Drop-2; Drop-3; Drop-2 & 3; Drop-2 & 4; double Drop-2 Drop-3; triad over bass note I; and triad over bass note II.
Before I explain to you what Drop-2 chords are, I wanted to show you how to find the inversions of any 4-way closed chords. Since we already established that the chord tones of Cmaj7 are C, E, G, and B, I'm going to keep using the same chord as an example. As we learned in the "Triads" article, when the lowest note of a chord is the root itself, we say that the chord is in the root-position. Then, C, E, G, and B, played in this specific order is considered root-position and the chord should be written like "Cmaj7" (for the sake of all these articles, the first note on the left will always be the lowest one, and the last on the right will be the highest). Then, in order to find the first inversion, all we have to do it is to move that C, all the way to the end, making it the highest note now. So, now we have E, G, B, and C, and the correct notation of this chord will be "Cmaj7/E". For the next two inversions, we just need to keep repeating the same process with the previous inversion. So, now that we have the first inversion E, G, B, C, all we have to do is to move that E all the way to the right. Then, we'll have the second inversion of the chord: G, B, C, E, and its correct notation is "Cmaj7/G". For the last inversion, we just repeat the same process, now taking the second inversion configuration and moving the first note on the left to the right. Then, for the 3rd-inversion we have B, C, E, G, and it's written like "Cmaj7/B". In case you're having problems with the concept of inversions, please read the "Triads" article. And if you feel like you got it, keep these inversions in mind because they'll be needed to understand how to get to the Drop-2 chords.
DROP-2 CHORDS
A Drop-2 chord is formed by taking the second highest note of a 4-way close chord and dropping it one octave down. The following image shows the same Cmaj7 chord from the beginning of this article in the 4-way close voicing on the higher strings, and the second one shows the same chord dropping the second highest note, which in this case is G.
[Cmaj7 in 4-way close on the higher strings]
[Cmaj7 dropping the second highest note]
Notice that I didn’t call the second chord “Drop-2” yet, and that’s because the goal of playing drop–2 chords is also to be able to play them on 4 adjacent strings, making them very easily-moved chords. Then, that top note, which is B, will be transferred to the second string. Transferring the note doesn’t mean that we are moving the note one octave above or down because the pitch is still the same, but we’re just looking to relocate that note in order to find an easier way to play that chord.
[Cmaj7/G in Drop-2 on the middle strings]
In this case the G became the lowest note, so the correct way to name it is Cmaj7/G (read “Root-position vs. Inversions” from the “Triads” article).
Of course, as we become more proficient, we end up memorizing each chord’s shape and their inversions too. But here is a comparison of how 4-way close chord voicings become Drop-2 chords.
4-way close | | Drop-2 |
root position = C E G B | Drops the G and becomes | Cmaj7/G = G C E B |
1st-inversion = E G B C | Drops the B and becomes | Cmaj7/B = B E G C |
2nd-inversion = G B C E | Drops the C and becomes | Cmaj7 = C G B E |
3rd-inversion = B C E G | Drops the E and becomes | Cmaj7/E = E B C G |
All the Drop-2 voicings we found for the Cmaj7 chord are playable on any set of strings and will be very useful when we finally get to arrange melodies. Here are the Cmaj7 Drop-2 chords played on the middle set:
[Cmaj7 in Drop-2 on the middle strings]
[Cmaj7/E in Drop-2 on the middle strings]
[Cmaj7/G in Drop-2 on the middle strings]
[Cmaj7/B in Drop-2 on the middle strings]
You might have noticed that the 7th-chords have one more inversion when compared to the triads, and the reason is very simple. Since we have one extra chord tone, it’ll generate a new combination of notes where that extra note will be the lowest one.
Before continuing, try to apply the same process to all the other 11 major seventh chords (Dbmaj7, Dmaj7, Ebmaj7, Emaj7, Fmaj7, Gbmaj7, Gmaj7, Abmaj7, Amaj7, Bbmaj7, and Bmaj7). First, find all the notes belonging to the given chord, i.e., for the Fmaj7 chord, the root is F, the major third is A, the perfect fifth is C, and the major seventh is E. Second, write down all the 4-way close voicings for that chord. The root-position is literally their natural order from the root to the seventh:
F A C E = Fmaj7
To find the first inversion, just move the first note to the last position:
A C E F = Fmaj7/A
To find the second inversion, just move the first note to the last position one more time:
C E F A = Fmaj7/C
To find the third inversion, move the first note to the last position one last time:
E F A C = Fmaj7/E
Now that you have all the 4-way close voicings for the Fmaj7 chord, apply the same process to find its Drop-2 voicings.
4-way close | | Drop-2 |
root-position = F A C E | Drops the C and becomes | Fmaj7/C = C F A E |
1st-inversion = A C E F | Drops the E and becomes | Fmaj7/E = E A D F |
2nd-inversion = C E F A | Drops the F and becomes | Fmaj7 = F C E A |
3rd-inversion = E F A C | Drops the A and becomes | Fmaj7/A = A E F C |
After you find all the new voicings, try to play them on the higher strings, the middle strings, and the lower strings, always on 4 adjacent strings. When you feel comfortable with this concept, try to apply the same process to all the following 7th-chord types!
TABLE OF 7TH-CHORDS
All the following examples will be given in the key of C and will always use the middle set of strings.
MAJOR 7th IN DROP-2
Root-position: C G B E [R 5 7 3]
1st-inversion: E B C G [3 7 R 5]
2nd-inversion: G C E B [5 R 3 7]
3rd-inversion: B E G C [7 3 5 R]
MINOR 7th IN DROP-2
Root-position: C G Bb Eb [R 5 b7 b3]
1st-inversion: Eb Bb C G [b3 b7 R 5]
2nd-inversion: G C Eb Bb [5 R b3 b7]
3rd-inversion: Bb Eb G C [b7 b3 5 R]
DOMINANT 7th IN DROP-2
Root-position: C G Bb E [R 5 b7 3]
1st-inversion: E Bb C G [3 b7 R 5]
2nd-inversion: G C E Bb [5 R 3 b7]
3rd-inversion: Bb E G C [b7 3 5 R]
HALF-DIMINISHED AKA MINOR 7th (b5) IN DROP-2
Root-position: C Gb Bb Eb [R b5 b7 b3]
1st-inversion: Eb Bb C Gb [b3 b7 R 5b]
2nd-inversion: Gb C Eb Bb [5b R b3 b7]
3rd-inversion: Bb Eb Gb C [b7 b3 b5 R]
DIMINISHED 7th IN DROP-2
Root-position: C Gb Bbb Eb [R b5 bb7 b3]
1st-inversion: Eb Bbb C Gb [b3 bb7 R 5b]
2nd-inversion: Gb C Eb Bbb [5b R b3 bb7]
3rd-inversion: Bbb Eb Gb C [bb7 b3 b5 R]
MINOR MAJOR 7th IN DROP-2
Root-position: C G B Eb [R 5 7 b3]
1st-inversion: Eb B C G [b3 7 R 5]
2nd-inversion: G C Eb B [5 R b3 7]
3rd-inversion: B Eb G C [7 b3 5 R]
DOMINANT 7th SUSPENDED 4th IN DROP-2
Root-position: C G Bb F [R 5 b7 4]
1st-inversion: F Bb C G [4 b7 R 5]
2nd-inversion: G C F Bb [5 R 4 b7]
3rd-inversion: Bb F G C [b7 4 5 R]
MAJOR 7th (#5) AKA AUGMENTED MAJOR 7th IN DROP-2
Root-position: C G# B E [R #5 7 3]
1st-inversion: E B C G# [3 7 R #5]
2nd-inversion: G# C E B [#5 R 3 7]
3rd-inversion: B E G# C [7 3 #5 R]
MAJOR 7th (b5) IN DROP-2
Root-position: C Gb B E [R b5 7 3]
1st-inversion: E B C Gb [3 7 R b5]
2nd-inversion: Gb C E B [b5 R 3 7]
3rd-inversion: B E Gb C [7 3 b5 R]
DOMINANT 7th (#5) AKA AUGMENTED DOMINANT IN DROP-2
Root-position: C G# Bb E [R #5 b7 3]
1st-inversion: E Bb C G# [3 b7 R #5]
2nd-inversion: G# C E Bb [#5 R 3 b7]
3rd-inversion: Bb E G# C [b7 3 #5 R]
DOMINANT 7th (b5) IN DROP-2
Root-position: C Gb Bb E [R b5 b7 3]
1st-inversion: E Bb C Gb [3 b7 R b5]
2nd-inversion: Gb C E Bb [b5 R 3 b7]
3rd-inversion: Bb E Gb C [b7 3 b5 R]
The major 6th and minor 6th chords are not usually taught as part of the 7th-chords. The truth is that major 6th chords are inversions of minor 7th chords, and the minor 6th chords are inversions of half-diminished chords. Check it out right now! i.e., C6 is the 1st-inversion of Am7, the same way that Cm6 is the 1st-inversion of Amin7(b5). However, I think it’s important to work on them separately, because they are used in different situations (i.e., major 6th chords are very often used as the last chord songs).
MAJOR 6th IN DROP-2
Root-position: C G A E [R 5 6 3]
1st-inversion: E A C G [3 6 R 5]
2nd-inversion: G C E A [5 R 3 6]
3rd-inversion: A E G C [6 3 5 R]
MINOR 6th IN DROP-2
Root-position: C G A Eb [R 5 6 b3]
1st-inversion: Eb A C G [b3 6 R 5]
2nd-inversion: G C Eb A [5 R b3 6]
3rd-inversion: A Eb G C [6 b3 5 R]
HOW TO PRACTICE DROP-2 CHORDS?
The coolest use for Drop-2 chords is to arrange songs through “block chords”, which means that every note of the melody can be harmonized with either the root-position or the inversions of a given chord (always keeping the melody as the top note of the chord). I’m going to write a whole article exclusively for this topic in a few weeks, but meanwhile I’d like you to work on the Drop-2 chords the same way we did with the triads in order to enhance your fluency with this type of voicing and ultimately be able to find them on any part of the fretboard.
1) Try to choose a different chord quality every day and ask yourself: Can I find the Cmin7 chord on the higher strings? On the middle strings? On the lower strings? Can I play the minor seventh chord in all the 12 keys (C, Db, D, Eb, E, F, Gb, G, Ab, A, Bb, B)? How about the other 7th-chord types? All these exercises help you to develop fluency at your instrument.
2) Practice the 7th-chords horizontally. Choose any set of four adjacent strings and try to find, let’s say, the C7 chord in the root-position, in the 1st- inversion, in the 2nd-inversion, and in the 3rd inversion, all within the same set of four strings. Play them back and forth for a few minutes and repeat the same exercise on a different set of strings.
[C7 in all positions of the higher set of strings]
3) Practice the 7th-chords vertically but establishing a limit for yourself. For example, can you play the C7 chord and its inversions between the open strings (fret zero) and the fifth fret? How about from the fifth fret to the twelfth? Of course, in this case you would have to change the set of strings for every position.
[C7 in all positions between the open string and the fifth fret]
4) Even if you're not a beginner, I still think you can benefit from the previous exercises. You might not see a lot of applications for them now, but even just as exercises, they’ll help you a lot to visualize scales and arpeggios when soloing. The goal here is to become fluent at your fretboard and know where every single note is, and this is one of the most important exercises to achieve that type of proficiency. If you feel like taking this to the next level, you should look for Mick Goodrick’s books: Almanac of Guitar Voice-Leading vol. 1 and 2 and practice all the Cycles exercises in it (which will take years, by the way). I’m not going to discuss those books deeply now, but I’m planning on writing a whole article about them in the future.
5) Find different ways to play songs that you already know. The same chords can be found in other regions of your instrument, and you can create a much more interesting motion of the chords. There is no “correct” way to choose what voicings to play, any combinations that you find interesting are valid. At the end of the day, it’s your arrangement, your song, your voicings.
The following images show the Drop-2 chords applied to the four first measures of Autumn Leaves: (Cmin7 | F7 | Bbmaj7 | Ebmaj7).
[Four first measures of Autumn Leaves in drop-2 on the higher strings]
[Four first measures of Autumn Leaves in drop-2 on the middle strings]
[Four first measures of Autumn Leaves in drop-2 on the lower strings]
Besides that, I have also written a whole eBook with more than 90 pages with all the 7th-chords mentioned in this article in every set of strings, in the root-position, 1st-inversion, 2nd-inversion, and 3rd-inversion in all 12 keys! You can find this eBook by either clicking on the link below or going to the "STORE" section. Even if you get this book, it is not a replacement for practicing the previous exercises but more of a comprehensive reference to help guide your practice, especially the understanding of horizontal and vertical Drop-2 chords.
For the next few articles, I’ll be expanding on the subject of chords before we get to discussing any arpeggios, scales, or improvisational concepts so that when we finally get there, we’ll have a very solid foundation on the most important topics. The next topics to be approached here on the blog will be Drop-3 chords, Triads Extensions, Shell Chords and Extensions, Arranging Songs with Drop-2 Chords, and a lot more. So, stay tuned!
All these theory concepts will be available here on my blog for free to anybody who is interested in learning more about music. As you could imagine, producing all this content is very time-consuming, and if you found this article helpful, please consider buying the material to support the blog or join our membership plan (available in April 2023) where I'll be teaching different applications for all this material through weekly videos, and you'll have all your questions answered as well!
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All my best,