Root position
A – C# – E – GThe root A is the lowest note. This is the shape most people learn first.
4 notes · 1 · 3 · 5 · ♭7
A7 is built from A, C#, E and G — the formula 1 · 3 · 5 · ♭7, or 4, 7 and 10 semitones above A. The shape uses 3 white and 1 black key, and you can hear it, invert it and compare it below.
Chord
Notes
A · C# · E · GFormula
1 · 3 · 5 · ♭7Right hand
1 · 2 · 3 · 5Choose a chord, then play it. Finger numbers run from thumb (1) to little finger (5).
The finder above already holds A7. Press P or the Play chord button to hear A, C#, E, G sounded together, then change the root or the chord type to compare it with something else.
Chord tones
A dominant seventh chord is a major triad with a minor seventh added on top. The tritone between its third and its seventh is unstable and pulls strongly towards the chord a fifth below, which is what makes it the engine of blues, gospel and most cadences. In a major key it is built on the fifth degree.
| Note | Interval | Degree | Semitones | Right hand |
|---|---|---|---|---|
| Awhite key | Root | 1 | 0 | 1 · thumb |
| C#black key | Major third | 3 | 4 | 2 · index finger |
| Ewhite key | Perfect fifth | 5 | 7 | 3 · middle finger |
| Gwhite key | Minor seventh | ♭7 | 10 | 5 · little finger |
Step by step
Inversions
An inversion keeps the same 4 notes and simply moves the lowest one up an octave. Learning them means you can change chords with small hand movements instead of jumping to a new part of the keyboard.
The root A is the lowest note. This is the shape most people learn first.
C# is the lowest note, so the major third sits in the bass and the notes below it move up an octave.
E is the lowest note, so the perfect fifth sits in the bass and the notes below it move up an octave.
G is the lowest note, so the minor seventh sits in the bass and the notes below it move up an octave.
In context
In D major the chord functions as V7. Altogether it is produced by the scales of 3 keys, so learning it once pays off in several places.
Chord tones are spelled by the degree they occupy, so the third of a minor chord is written as a flat rather than a sharp even though it is the same key on the piano. A double sharp such as F## means the key one whole tone above F.
Compare
A7 and Amaj7 share A, C# and E. Moving the major seventh G# down 1 semitone to the minor seventh G turns Amaj7 into A7.
Practise the pair together: hold the shared notes A, C#, E still and move only the one finger. Hearing that single change is the quickest way to recognise the two chords by ear.
Open Amaj7 →Good questions
A7 contains A, C#, E and G. Counted from the root, that is the formula 1 · 3 · 5 · ♭7, or 4, 7 and 10 semitones above A.
A comfortable beginner fingering is 1 (thumb) on A, 2 (index finger) on C#, 3 (middle finger) on E and 5 (little finger) on G. Finger numbers run from the thumb (1) to the little finger (5), and they change once you start using inversions.
A7 and Amaj7 share A, C# and E. Moving the major seventh G# down 1 semitone to the minor seventh G turns Amaj7 into A7.
It occurs naturally in D major (V7), D harmonic minor (V7) and B minor (VII7). The roman numeral shows which degree of the key the chord is built on.
root position is A – C# – E – G, first inversion is C# – E – G – A, second inversion is E – G – A – C# and third inversion is G – A – C# – E. Every inversion holds the same notes; only the lowest one changes.