Root position
C – E – G – BbThe root C is the lowest note. This is the shape most people learn first.
4 notes · 1 · 3 · 5 · ♭7
C7 is built from C, E, G and Bb — the formula 1 · 3 · 5 · ♭7, or 4, 7 and 10 semitones above C. The shape uses 3 white and 1 black key, and you can hear it, invert it and compare it below.
Chord
Notes
C · E · G · A#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 C7. Press P or the Play chord button to hear C, E, G, Bb 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 |
|---|---|---|---|---|
| Cwhite key | Root | 1 | 0 | 1 · thumb |
| Ewhite key | Major third | 3 | 4 | 2 · index finger |
| Gwhite key | Perfect fifth | 5 | 7 | 3 · middle finger |
| Bbblack 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 C is the lowest note. This is the shape most people learn first.
E is the lowest note, so the major third sits in the bass and the notes below it move up an octave.
G is the lowest note, so the perfect fifth sits in the bass and the notes below it move up an octave.
Bb is the lowest note, so the minor seventh sits in the bass and the notes below it move up an octave.
In context
In F 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
C7 and Cmaj7 share C, E and G. Moving the major seventh B down 1 semitone to the minor seventh Bb turns Cmaj7 into C7.
Practise the pair together: hold the shared notes C, 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 Cmaj7 →Good questions
C7 contains C, E, G and Bb. Counted from the root, that is the formula 1 · 3 · 5 · ♭7, or 4, 7 and 10 semitones above C.
A comfortable beginner fingering is 1 (thumb) on C, 2 (index finger) on E, 3 (middle finger) on G and 5 (little finger) on Bb. Finger numbers run from the thumb (1) to the little finger (5), and they change once you start using inversions.
C7 and Cmaj7 share C, E and G. Moving the major seventh B down 1 semitone to the minor seventh Bb turns Cmaj7 into C7.
It occurs naturally in F major (V7), D minor (VII7) and F harmonic minor (V7). The roman numeral shows which degree of the key the chord is built on.
root position is C – E – G – Bb, first inversion is E – G – Bb – C, second inversion is G – Bb – C – E and third inversion is Bb – C – E – G. Every inversion holds the same notes; only the lowest one changes.