Root position
D – F – A – CThe root D is the lowest note. This is the shape most people learn first.
4 notes · 1 · ♭3 · 5 · ♭7
Dm7 is built from D, F, A and C — the formula 1 · ♭3 · 5 · ♭7, or 3, 7 and 10 semitones above D. The shape uses white keys only, and you can hear it, invert it and compare it below.
Chord
Notes
D · F · A · CFormula
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 Dm7. Press P or the Play chord button to hear D, F, A, C 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 |
|---|---|---|---|---|
| Dwhite key | Root | 1 | 0 | 1 · thumb |
| Fwhite key | Minor third | ♭3 | 3 | 2 · index finger |
| Awhite key | Perfect fifth | 5 | 7 | 3 · middle finger |
| Cwhite 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 D is the lowest note. This is the shape most people learn first.
F is the lowest note, so the minor third sits in the bass and the notes below it move up an octave.
A is the lowest note, so the perfect fifth sits in the bass and the notes below it move up an octave.
C is the lowest note, so the minor seventh sits in the bass and the notes below it move up an octave.
In context
In C major the chord functions as ii7. 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
Dm7 and D7 share D, A and C. Moving the major third F# down 1 semitone to the minor third F turns D7 into Dm7.
Practise the pair together: hold the shared notes D, A, C still and move only the one finger. Hearing that single change is the quickest way to recognise the two chords by ear.
Open D7 →Good questions
Dm7 contains D, F, A and C. Counted from the root, that is the formula 1 · ♭3 · 5 · ♭7, or 3, 7 and 10 semitones above D.
A comfortable beginner fingering is 1 (thumb) on D, 2 (index finger) on F, 3 (middle finger) on A and 5 (little finger) on C. Finger numbers run from the thumb (1) to the little finger (5), and they change once you start using inversions.
Dm7 and D7 share D, A and C. Moving the major third F# down 1 semitone to the minor third F turns D7 into Dm7.
It occurs naturally in C major (ii7), F major (vi7), B♭ major (iii7), D minor (i7), G minor (v7) and A minor (iv7). The roman numeral shows which degree of the key the chord is built on.
root position is D – F – A – C, first inversion is F – A – C – D, second inversion is A – C – D – F and third inversion is C – D – F – A. Every inversion holds the same notes; only the lowest one changes.