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Cm7 Piano Chord

    Piano Diagram of Cm7 in Root Position

    Cm7 Chord - Root Position - Piano Diagram

    Cm7 is a minor chord built on the key of C with an added minor 7th. It is formed by the notes C, Eb, G, and Bb. In this article, we’ll explore the music theory underlying the Cm7 chord, including its construction, common voicings, and its role in chord progressions.

     

    Structure of Cm7

    Notes
    C, Eb, G, Bb

    Intervals
    R, m3, 5, m7

     

    Finger Position

    Left Hand
    5, 3, 2, 1

    5, 4, 2, 1

    Right Hand
    1, 2, 4, 5

    1, 2, 3, 4

     

    Cm7 Chord Inversions

     

    The Cm7 chord has a total of 3 inversions:

    Root Position: C Eb G Bb
    1st Inversion: Eb G Bb C
    2nd Inversion: G Bb C Eb
    3rd Inversion: Bb C Eb G

    Piano Keyboard Diagrams

    Cm7 Chord Equivalencies

    Rearranging the notes of a chord can result in unique and interesting chord equivalencies. This is particularly true for 7th chords, where we can create a distinct type of chord by rearranging the notes of a minor 7th chord in a specific way.

    For instance, if we take the 1st inversion of a minor 7th chord, where the 3rd note becomes the root note, we end up with a major 6th chord (also known as an “add 6th” chord).

    Let’s consider the Cm7 chord, which comprises the notes C, Eb, G, and Bb. If we rearrange the notes such that Eb becomes the root note, we obtain an Eb6 chord with the notes Eb, G, Bb, and C.

    1st Inversion of Cm7 = Eb6

    The reason why the 1st inversion of a minor 7th chord results in a major 6th chord is due to the note relationships between the chords. When we move the 3rd note to become the root note, we end up with a chord that features a major 3rd, perfect 5th, and a major 6th interval.

    Music Theory and Harmony of Cm7

     

    In music theory, m7 chords, also known as minor seventh chords, are commonly used and have a melancholic or introspective quality. They can be found in various genres such as jazz, blues, pop, and classical music. These chords add richness and tension to a musical piece and are often used as tonic, subdominant, or dominant chords.

     

    Building the Cm7 Chord: Different Approaches

    When building a minor seventh (m7) chord, there are a few different approaches you can take. These approaches can be used interchangeably to construct m7 chords and provide different perspectives on building these chords:

    Starting from the C Major Scale

    C minor 7th is built by combining the Root, a minor 3rd, a 5th, and a minor 7th interval from a minor scale, however, for educational purposes, it may be clearer to demonstrate its construction using a major scale, as it better illustrates the relationship between intervals and their qualities.

    For example, to build a Cm7 chord, you can start with the C Major scale, which consists of the notes C, D, E, F, G, A, and B.

     

    C Major Diatonic Scale up to 13th - Keyless Notation

    C Major scale.

     

    To create a Cm7 chord, apply the formula R, m3, 5, m7 in the following manner:

    1. Begin with the Root note, C.
    2. Select the 3rd interval, which is E then lower it down by a half-step to get the minor 3rd Eb.
    3. Include the 5th note, G.
    4. Finally, add the minor 7th interval, Bb.

    By following this simple formula, you can create a minor 7th chord from any major scale.

     

    by Combining Intervals

    Another way to form a minor 7th chord is by combining specific intervals – a minor 3rd, a major 3rd, and another minor 3rd.

    m3 + 3 + m3 = minor 7th Chords

    If we observe the intervals between the notes, we can notice that C-Eb creates a minor 3rd interval, Eb-G forms a major 3rd interval, and G-Bb is a minor 3rd interval. By stacking these three intervals together, we can build the Cm7 chord.

     

    How to Use C min7 in a Chord Progression

     

    The C minor 7th chord can have various harmonic functions, depending on its context within a piece of music. Here you can see on what degrees it appears naturally:

    on Natural minor Scales

    Minor Scales i ii III iv v VI VII
    C C min7 Dm7b5 Eb Maj7 F min7 G min7 Ab Maj7 Bb7
    G G min7 Am7b5 Bb Maj7 C min7 D min7 Eb Maj7 F7
    F F min7 Gm7b5 Ab Maj7 Bb min7 C min7 Db Maj7 Eb7
    • Tonic chord in C minor
    • Subdominant chord in G minor
    • Dominant chord in F minor

     

    on Major Scales

    Major Scales I ii iii IV V vi vii
    Bb Bb Maj7 C min7 D min7 Eb Maj7 F7 G min7 Am7b5
    Ab Ab Maj7 Bb min7 C min7 Db Maj7 Eb7 F min7 Gm7b5
    Eb Eb Maj7 F min7 G min7 Ab Maj7 Bb7 C min7 Dm7b5
    • Supertonic chord in Bb Major
    • Mediant chord in Ab Major
    • Submediant chord in Eb Major

     

    Cm7 Function in Major and Minor Keys

    Understanding Scale Degrees

    To understand the relationships between the notes in a scale and their functions within chords, it’s essential to know about scale degrees. The diatonic major scale is made up of seven degrees, each with its own unique role in creating the overall harmony of the scale.

    1. Starting with the first degree of the scale, known as the Tonic, this note serves as the anchor for the music. It establishes a stable tonal center that acts as the foundation for the scale.
    2. Moving on to the second degree, called the Supertonic, it’s often used as a transitional note between the Tonic and other notes in the scale. It creates a sense of motion within the melody or harmony.
    3. The third degree of the scale is the Mediant, which sits halfway between the Tonic and Dominant notes. It helps establish whether the scale is major or minor.
    4. The fourth degree, known as the Subdominant, is used to complement the Dominant and add tension and resolution to the music.
    5. The fifth degree is the Dominant, which creates tension and anticipation within the melody or harmony. This note is typically resolved by returning to the Tonic.
    6. The sixth degree, the Submediant, is often employed as a transitional note between the Dominant and Tonic, adding a sense of stability and restfulness to the music.
    7. Finally, the seventh degree is the Leading tone, located one half-step below the Tonic. It creates a strong sense of tension and a desire to resolve to the Tonic. This note is frequently used to create a sense of resolution and finality in the melody or harmony.

     

    Cm7 as Tonic Chord in C Minor

    In the key of C minor, Cm7 can serve as the Tonic chord. This means that it’s the chord that creates a sense of stability and resolution, acting as the starting point and tonal center of the scale.

    i ii III iv v VI VII
    C min7 Dm7b5 Eb Maj7 F min7 G min7 Ab Maj7 Bb7

     

    Cm7 Chord Progressions as i degree

    The following chord progressions are examples of how C minor 7th can serve as the tonic chord (i degree). I’ve added a possible voicing but it’s just a suggestion.

    i VI VII III
    i VI VII III
    C min7

    (C, Eb, G, Bb)

    		 Ab Maj7

    (C, Eb, G, Ab)

    		 Bb7

    (Bb, D, F, Ab)

    		 Eb Maj7

    (Bb, D, Eb, G)

     

    Chromatic modulation
    i iΔ i7 i6
    C min

    (C, Eb, G, C)

    		 CmMaj7

    (C, Eb, G, B)

    		 C min7

    (C, Eb, G, Bb)

    		 C min6

    (C, Eb, G, A)

     

    i iv VI VII
    i iv VI VII
    C min7

    (C, Eb, G, Bb)

    		 F min7

    (C, Eb, F, A)

    		 Ab Maj7

    (Ab, C, Eb, G)

    		 Bb7

    (Ab, Bb, D, F)

     

    Cm7 as Subdominant Chord in G Minor

    C minor 7th can also appear as the subdominant chord (iv degree) in the key of G minor.

    i ii III iv v VI VII
    G min7 Am7b5 Bb Maj7 C min7 D min7 Eb Maj7 F7

     

    Cm7 Chord Progressions as iv degree

    The following chord progressions feature a Cm7 chord as the subdominant (iv degree):

    iv III VI VII
    iv III VI VII
    C min7 Bb Maj7 Eb Maj7 F7

     

    i iv VI v
    i iv VI v
    G min7 C min7 Eb Maj7 D min7

     

    Cm7 as Dominant Chord in F minor

    In F minor, Cm7 can be used as the dominant chord. As a dominant minor chord in a minor key, the Cm7 creates a sense of tension and anticipation, leading to the resolution of the tonic chord, which in this case is Fm.

    i ii III iv v VI VII
    F min7 Gm7b5 Ab Maj7 Bb min7 C min7 Db Maj7 Eb7

     

    Cm7 as v degree – Chord Progressions

    If you want to hear how C minor 7th sounds as the dominant chord in F minor, try playing the following chord progressions:

    i iv VI v
    i iv VI v
    F min7 Bb min7 Db Maj7 C min7

     

    i v VI VII
    i v VI VII
    F min7 C min7 Db Maj7 Eb7

     

    i VI v iv
    i VI v iv
    F min7 Db Maj7 C min7 Bb min7

     

    Cm7 as Supertonic Chord in Bb Major

    Although often associated with natural minor scales, Cm7 can also be used in major keys. In the key of Bb major, for example, Cm7 functions as the supertonic chord, which is located on the second degree of the scale.

    In this context, Cm7 creates a slightly tense and unresolved sound, adding a feeling of anticipation or expectation as it typically leads to the dominant or subdominant chords.

    I ii iii IV V vi vii
    Bb Maj7 C min7 D min7 Eb Maj7 F7 G min7 Am7b5

     

    Cm7 Chord Progressions as ii degree

    Try playing the following chord progressions to better understand how the Cm7 chord functions as the supertonic (ii) chord in the key of Bb major.

    ii V I
    ii V I
    C min7 F7 Bb Maj7

     

    I IV ii V iii vi ii V
    I IV ii V iii vi ii V
    Bb Maj7 Eb Maj7 C min7 F7 D min7 G min7 C min7 F7

     

    Cm7 as Mediant Chord in Ab Major

    Cm7 has yet another function apart from its positions in minor and major keys. It can also serve as the mediant (iii) chord in the key of Ab major, which is located on the third degree of the scale.

    I ii iii IV V vi vii
    Ab Maj7 Bb min7 C min7 Db Maj7 Eb7 F min7 Gm7b5

     

    Cm7 Chord Progressions as iii degree

    To better understand how Cm7 serves as the mediant in the Ab major scale, you can try playing the following chord progressions:

    I iii IV V
    I iii IV V
    Ab Maj7 C min7 Db Maj7 Eb7

     

    I iii ii V
    I iii ii V
    Ab Maj7 C min7 Bb min7 Eb7

     

    I iii vi IV
    I iii vi IV
    Ab Maj7 C min7 F min7 Db Maj7

     

    Cm7 as Submediant Chord in Eb Major

    You can play Cm7 on the sixth degree of the Eb major scale where it functions as the submediant chord. The submediant chord usually brings a sense of relaxation and stability to a chord progression.

    I ii iii IV V vi vii
    Eb Maj7 F min7 G min7 Ab Maj7 Bb7 C min7 Dm7b5

     

    Cm7 as vi degree – Chord Progressions

    You can explore the sound of Cm7 as the submediant chord in the key of Eb major by playing the following chord progressions:

    I iii vi V
    I iii vi V
    Eb Maj7 G min7 C min7 Bb7

     

    I vi ii V
    I vi ii V
    Eb Maj7 C min7 F min7 Bb7

     

    I IV ii V iii vi ii V
    I IV ii V iii vi ii V
    Eb Maj7 Ab Maj7 F min7 Bb7 G min7 C min7 F min7 Bb7

     

    Alternative Names for Cm7 Chord

    • C-7
    • Do -7
    • Do m7
    • Cm7th
    • C min7
    • Do min7
    • C minor 7th
    • C minor seventh

     

    Conclusion

    The chord progressions and examples presented in this post provide a comprehensive overview of the most common uses of the Cmin7 chord. It’s important to note, however, that many advanced harmony-related topics could not be included due to space constraints. These topics include chord progressions built on harmonic and melodic scales, modal scales, hidden tonality, secondary dominants and other chord substitutions, non-functional harmony and atonal music, modal interchange and borrowed chords, voice leading and counterpoint, chromatisms, jazz harmony…I mean, music theory is a huge topic!

    Although I couldn’t cover all of these topics in my post, I encourage readers to continue exploring these areas in their own study and research. By expanding your knowledge in these advanced areas of music theory, you can gain a deeper understanding of the harmonic possibilities that exist beyond the basics presented here.

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