A#m7 — A# minor seventh chord
A minor triad with a minor seventh added. The interval between the third and the seventh is a perfect fifth.
- 1 = A#
- b3 = C#
- 5 = E#
- b7 = G#
- Symbol
- A#m7
- Root
- A#
- Quality
- Minor seventh
- Family
- seventh
- Notes
- A# C# E# G#
- Degree formula
1 b3 5 b7- Semitones from the root
0 3 7 10- Distinct pitch classes
- 4
- Interval structure
- Stacked from the root: 3 semitones, 4 semitones, 3 semitones
- Notation
- Written m7 or min7. The chord on the second, third and sixth degrees of a major key, and the tonic of a minor key in jazz.
- Key
- A# · Bb major / G minor key signature
Fingering charts
The library holds 4 fingerings of this chord and all of them are shown, in the library’s own order. Several fingerings of one chord is normal: the same notes can be stopped at different positions and on different strings.
Formula
The chord tones in order from the root, with the interval each one forms above it.
| Degree | Note | Semitones | Interval from the root |
|---|---|---|---|
| 1 | A# | 0 | Perfect unison |
| b3 | C# | 3 | Minor third |
| 5 | E# | 7 | Perfect fifth |
| b7 | G# | 10 | Minor seventh |
Inversions
An inversion is the same set of notes with a different one in the bass. The last column gives the distance of each note above the bass note, in semitones.
| Inversion | Bass note | Degree in the bass | Notes above the bass | Semitones above the bass |
|---|---|---|---|---|
| root position | A# | 1 | A# – C# – E# – G# | 0 3 7 10 |
| first inversion | C# | b3 | C# – E# – G# – A# | 0 4 7 9 |
| second inversion | E# | 5 | E# – G# – A# – C# | 0 3 5 8 |
| third inversion | G# | b7 | G# – A# – C# – E# | 0 2 5 9 |
Playable voicings
These shapes were found by searching the fretboard of a standard-tuned guitar (E A D G B E) rather than copied from a chord book. The search allows every string to sound or to be muted, rejects any shape with a muted string between two sounding strings, rejects any shape whose fretted notes span more than four frets (a five-fret window), requires every chord tone to be present, and then sorts what remains with root-position shapes first and the most compact, lowest shapes next. The shapes shown are the first six of that ordering; other orderings are possible at the same frets.
| # | Shape (low string first) | Notes | Degrees | Bass | Span (frets) | Sounding strings |
|---|---|---|---|---|---|---|
| 1 | 6-4-6-6-6-4 | A# C# G# C# F G# | 1 b3 b7 b3 5 b7 | A# | 2 | 6 |
| 2 | 6-4-6-6-6-6 | A# C# G# C# F A# | 1 b3 b7 b3 5 1 | A# | 2 | 6 |
| 3 | 6-8-6-6-6-6 | A# F G# C# F A# | 1 5 b7 b3 5 1 | A# | 2 | 6 |
| 4 | 6-4-3-3-6-4 | A# C# F A# F G# | 1 b3 5 1 5 b7 | A# | 3 | 6 |
| 5 | 6-4-3-6-6-4 | A# C# F C# F G# | 1 b3 5 b3 5 b7 | A# | 3 | 6 |
| 6 | 6-4-6-3-6-4 | A# C# G# A# F G# | 1 b3 b7 1 5 b7 | A# | 3 | 6 |
Shape numbers run from the lowest string to the highest, so the left-hand number is the sixth string (low E) in standard tuning. Multiple shapes are listed because a chord can be voiced several ways, and because a lower position is not always the better sounding one.
Related chords and scales
- KeyEverything in A#
- ScaleA# dorian
- ChordA#m
- ChordA#m9
- ChordC#maj7
Related
- ChordA#m — Minor
- ChordA#m9 — Minor ninth
- ChordC#maj7 — Major seventh
- ChordA#dim7 — Diminished seventh
- ChordA#7 — Dominant seventh
- ChordA#maj7 — Major seventh
- DegreesBb — degree map
- Neck mapBb — note map