Root position
G – B – D – FThe root G is the lowest note. This is the shape most people learn first.
4 notes · 1 · 3 · 5 · ♭7
G7 is built from G, B, D and F — the formula 1 · 3 · 5 · ♭7, or 4, 7 and 10 semitones above G. The shape uses white keys only, and you can hear it, invert it and compare it below.
Chord
Notes
G · B · D · FFormula
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 G7. Press P or the Play chord button to hear G, B, D, F 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 |
|---|---|---|---|---|
| Gwhite key | Root | 1 | 0 | 1 · thumb |
| Bwhite key | Major third | 3 | 4 | 2 · index finger |
| Dwhite key | Perfect fifth | 5 | 7 | 3 · middle finger |
| Fwhite 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 G is the lowest note. This is the shape most people learn first.
B is the lowest note, so the major third sits in the bass and the notes below it move up an octave.
D is the lowest note, so the perfect fifth sits in the bass and the notes below it move up an octave.
F 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 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
G7 and Gmaj7 share G, B and D. Moving the major seventh F# down 1 semitone to the minor seventh F turns Gmaj7 into G7.
Practise the pair together: hold the shared notes G, B, D still and move only the one finger. Hearing that single change is the quickest way to recognise the two chords by ear.
Open Gmaj7 →Good questions
G7 contains G, B, D and F. Counted from the root, that is the formula 1 · 3 · 5 · ♭7, or 4, 7 and 10 semitones above G.
A comfortable beginner fingering is 1 (thumb) on G, 2 (index finger) on B, 3 (middle finger) on D and 5 (little finger) on F. Finger numbers run from the thumb (1) to the little finger (5), and they change once you start using inversions.
G7 and Gmaj7 share G, B and D. Moving the major seventh F# down 1 semitone to the minor seventh F turns Gmaj7 into G7.
It occurs naturally in C major (V7), C harmonic minor (V7) and A minor (VII7). The roman numeral shows which degree of the key the chord is built on.
root position is G – B – D – F, first inversion is B – D – F – G, second inversion is D – F – G – B and third inversion is F – G – B – D. Every inversion holds the same notes; only the lowest one changes.