G#maj7 — G# major seventh chord
A major triad with a major seventh added. The interval between the third and the seventh is a major third, which is why the chord sounds stable.
- 1 = G#
- 3 = B#
- 5 = D#
- 7 = F##
- Symbol
- G#maj7
- Root
- G#
- Quality
- Major seventh
- Family
- seventh
- Notes
- G# B# D# F##
- Degree formula
1 3 5 7- Semitones from the root
0 4 7 11- Distinct pitch classes
- 4
- Interval structure
- Stacked from the root: 4 semitones, 3 semitones, 4 semitones
- Notation
- Written maj7, M7 or a triangle. The tonic chord of a major key in jazz harmony.
- Key
- G# · Ab major / F minor key signature
Fingering charts
The library holds 7 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 | G# | 0 | Perfect unison |
| 3 | B# | 4 | Major third |
| 5 | D# | 7 | Perfect fifth |
| 7 | F## | 11 | Major 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 | G# | 1 | G# – B# – D# – F## | 0 4 7 11 |
| first inversion | B# | 3 | B# – D# – F## – G# | 0 3 7 8 |
| second inversion | D# | 5 | D# – F## – G# – B# | 0 4 5 9 |
| third inversion | F## | 7 | F## – G# – B# – D# | 0 1 5 8 |
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 | 4-3-5-5-4-3 | G# C G C D# G | 1 3 7 3 5 7 | G# | 2 | 6 |
| 2 | 4-3-5-5-4-4 | G# C G C D# G# | 1 3 7 3 5 1 | G# | 2 | 6 |
| 3 | 4-6-5-5-4-4 | G# D# G C D# G# | 1 5 7 3 5 1 | G# | 2 | 6 |
| 4 | 4-3-1-1-1-3 | G# C D# G# C G | 1 3 5 1 3 7 | G# | 3 | 6 |
| 5 | 4-3-1-1-4-3 | G# C D# G# D# G | 1 3 5 1 5 7 | G# | 3 | 6 |
| 6 | 4-3-6-5-4-3 | G# C G# C D# G | 1 3 1 3 5 7 | G# | 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 G#
- ScaleG# major
- ChordG#
- ChordG#maj9
- ChordCm7
Related
- ChordG# — Major
- ChordG#maj9 — Major ninth
- ChordCm7 — Minor seventh
- ChordG#dim7 — Diminished seventh
- ChordG#7 — Dominant seventh
- ChordG#m7 — Minor seventh
- DegreesAb — degree map
- Neck mapAb — note map