G#m7 — G# minor seventh chord
A minor triad with a minor seventh added. The interval between the third and the seventh is a perfect fifth.
- 1 = G#
- b3 = B
- 5 = D#
- b7 = F#
- Symbol
- G#m7
- Root
- G#
- Quality
- Minor seventh
- Family
- seventh
- Notes
- G# B D# F#
- 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
- G# · Ab major / F minor key signature
Fingering charts
The library holds 8 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 |
| b3 | B | 3 | Minor third |
| 5 | D# | 7 | Perfect fifth |
| b7 | F# | 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 | G# | 1 | G# – B – D# – F# | 0 3 7 10 |
| first inversion | B | b3 | B – D# – F# – G# | 0 4 7 9 |
| second inversion | D# | 5 | D# – F# – G# – B | 0 3 5 8 |
| third inversion | F# | b7 | F# – G# – B – D# | 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 | 4-2-4-4-4-2 | G# B F# B D# F# | 1 b3 b7 b3 5 b7 | G# | 2 | 6 |
| 2 | 4-2-4-4-4-4 | G# B F# B D# G# | 1 b3 b7 b3 5 1 | G# | 2 | 6 |
| 3 | 4-6-4-4-4-4 | G# D# F# B D# G# | 1 5 b7 b3 5 1 | G# | 2 | 6 |
| 4 | 4-2-1-1-4-2 | G# B D# G# D# F# | 1 b3 5 1 5 b7 | G# | 3 | 6 |
| 5 | 4-2-1-4-4-2 | G# B D# B D# F# | 1 b3 5 b3 5 b7 | G# | 3 | 6 |
| 6 | 4-2-4-1-4-2 | G# B F# G# D# F# | 1 b3 b7 1 5 b7 | 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# dorian
- ChordG#m
- ChordG#m9
- ChordBmaj7
Related
- ChordG#m — Minor
- ChordG#m9 — Minor ninth
- ChordBmaj7 — Major seventh
- ChordG#dim7 — Diminished seventh
- ChordG#7 — Dominant seventh
- ChordG#maj7 — Major seventh
- DegreesAb — degree map
- Neck mapAb — note map