Root position
A# – C# – E# – G#The root A# is the lowest note. This is the shape most people learn first.
4 notes · 1 · ♭3 · 5 · ♭7
A#m7 is built from A#, C#, E# and G# — the formula 1 · ♭3 · 5 · ♭7, or 3, 7 and 10 semitones above A#. The shape uses 1 white and 3 black keys, and you can hear it, invert it and compare it below.
Chord
Notes
A# · C# · F · G#Formula
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 A#m7. 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 minor seventh chord adds a minor seventh above a minor triad. It keeps the darker colour of the minor third, but the extra note softens the edge, so the chord feels relaxed rather than sad. Minor sevenths are the natural seventh chords on the second, third and sixth degrees of a major scale.
| Note | Interval | Degree | Semitones | Right hand |
|---|---|---|---|---|
| A#black key | Root | 1 | 0 | 1 · thumb |
| C#black key | Minor third | ♭3 | 3 | 2 · index finger |
| E#white key | Perfect fifth | 5 | 7 | 3 · middle finger |
| G#black 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 minor 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 vi7. Altogether it is produced by the scales of 6 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
A#m7 and A#7 share A#, E# and G#. Moving the major third C## down 1 semitone to the minor third C# turns A#7 into A#m7.
Practise the pair together: hold the shared notes A#, E#, G# still and move only the one finger. Hearing that single change is the quickest way to recognise the two chords by ear.
Open A#7 →Good questions
A#m7 contains A#, C#, E# and G#. Counted from the root, that is the formula 1 · ♭3 · 5 · ♭7, or 3, 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.
A#m7 and A#7 share A#, E# and G#. Moving the major third C## down 1 semitone to the minor third C# turns A#7 into A#m7.
It occurs naturally in D♭ major (vi7), F♯ major (iii7), A♭ major (ii7), E♭ minor (v7), F minor (iv7) and B♭ minor (i7). 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.
On an equal-tempered piano A# and B♭ are the same key, so the chords sound identical. Written music chooses between them according to the key signature: pages here are named after the sharp spelling of the root, and the chord tones are then spelled by the degree each one occupies, which is why a double sharp occasionally appears.