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CmMaj7 Piano Chord

    Piano Diagram of CmMaj7 in Root Position

    C MMaj7 Chord Root Position Piano Diagram

    The CmMaj7 chord is a minor chord rooted in the key of C, consisting of the notes C, Eb, G, and B. The main feature of this chord is the inclusion of a major 7th interval on a minor chord. Additionally, the presence of an augmented fifth between the minor 3rd and major 7th creates a sense of dissonance. In this article, we will delve into the music theory of the CmMaj7 chord and its role within chord progressions.

     

    Structure of CmMaj7

    Notes
    C, Eb, G, B

    Intervals
    R, m3, 5, 7

     

    Finger Position

    Left Hand
    5, 3, 2, 1

    5, 4, 2, 1

    Right Hand
    1, 2, 4, 5

    1, 2, 3, 4

     

    CmMaj7 Chord Inversions

     

    The CmMaj7 chord has a total of 3 inversions:

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

    Piano Keyboard Diagrams

    Music Theory and Harmony of CmMaj7

     

    Building the CmMaj7 Chord: Different Approaches

    Starting from the C Major Scale

    A C minor major 7th chord is formed by taking the root note C, adding a minor 3rd interval (Eb), a perfect 5th interval (G), and finally a major 7th interval (B). Although these intervals are typically derived from a minor scale, for educational purposes, it is often more intuitive to explain their construction using a major scale.

    For example, to build a CmMaj7 chord, you can start with the C Major scale:

     

    C Major Diatonic Scale up to 13th - Keyless Notation

    C Major scale.

     

    To create a CmMaj7 chord, apply the formula R, m3, 5, 7 in the following manner:

    1. Begin with the Root note, which is C.
    2. Select the minor 3rd interval, Eb.
    3. Include the 5th note, G.
    4. Finally, add the major 7th interval (B), which is the 7th note of the scale.

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

     

    by Combining Intervals

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

    m3 + 3 + 3 = minor Major 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-B is another major 3rd interval.

    By stacking these three intervals together, we can build the CmMaj7 chord.

     

    How to Use CmMaj7 in a Chord Progression

     

    The CmMaj7 chord is characterized by the presence of a major 7th interval, which is not found in either the natural minor or major scales. It’s diatonic in other scales like the harmonic and melodic minor scale, which features a minor major seventh chord on their first degree.

    Typically, the CmMaj7 chord is used as a passing chord, temporarily transitioning towards a more stable Cm7. Additionally, it can serve as an ending chord in specific musical contexts. This is because the chord produces a mysterious and intriguing atmosphere, making it suitable for certain musical styles and compositions.

    Non-diatonic positions in Natural minor and Major Scales

    The major seventh interval of the CmMaj7 chord, which is B, clashes with the Bb note present in both natural minor and major scales. For this reason, the CmMaj7 chord is not commonly used as a standalone chord (except in endings).

    The CmMaj7 chord is commonly used:

    • on the first and fourth degree of minor scales or
    • on the second and on the sixth degree of major scales,
    • as part of a chromatic progression towards a minor 7th chord.
    • While less common, it can still be used on the fifth degree of both minor and major scales.

    Here are the tables of the major and natural minor scales that include the C minor 7th, which can be complemented by a CmMaj7 chord.

     

    on Natural minor Scales

    Minor Scales i ii III iv v VI VII
    C C min7 ⇒ CmMaj7
    		 Dm7b5 Eb Maj7 F min7 G min7 Ab Maj7 Bb7
    G G min7 Am7b5 Bb Maj7 C min7 ⇒ CmMaj7 D min7 Eb Maj7 F7
    F F min7 Gm7b5 Ab Maj7 Bb min7 C min7 ⇒ CmMaj7 Db Maj7 Eb7

    Non-diatonic passing chord to the:

    • Tonic chord in C minor
    • Subdominant chord in G minor
    • Dominant chord in F minor (less common)

     

    on Major Scales

    Major Scales I ii iii IV V vi vii
    Bb Bb Maj7 C min7 ⇒ CmMaj7 D min7 Eb Maj7 F7 G min7 Am7b5
    Ab Ab Maj7 Bb min7 C min7 ⇒ CmMaj7 Db Maj7 Eb7 F min7 Gm7b5
    Eb Eb Maj7 F min7 G min7 Ab Maj7 Bb7 C min7 ⇒ CmMaj7 Dm7b5

    Non-diatonic passing chord to the:

    • Supertonic chord in Bb Major
    • Mediant chord in Ab Major
    • Submediant chord in Eb Major

     

    CmMaj7 Function in Major and minor Keys

    The chord CmMaj7 does not serve a functional role in harmonic progressions within major and minor keys as it is not diatonic. Rather, it should be considered as a color to add in certain contexts where modulation to a Cm7 chord is feasible or appropriate.

     

    CmMaj7 as Passing Chord in C minor

    In the key of C minor, the CmMaj7 serves as a passing chord to the Tonic chord, Cm7. The chord’s major 7th note, B, clashes with the Bb note found in the C minor scale, creating a tension that needs to be resolved. This can be achieved by transitioning the chord to a more stable Cm7 chord, which typically occurs within the same measure as the CmMaj7 chord.

    Alternatively, the CmMaj7 chord can be left alone as an ending chord, but it’s too dissonant to be played for a whole measure within a chord progression.

    i ii III iv v VI VII
    C min7 Dm7b5 Eb Maj7 F min7 G min7 Ab Maj7 Bb7
    Cm(Maj7) as Passing Chord on the i degree

    The following chord progressions are examples of how the C minor major 7th chord can serve as a passing chord towards the tonic chord (Cm7).

     

    Chromatic modulation
    i iΔ i7 i6
    C min

    (C, Eb, G, C)

    		 CmMaj7

    (C, Eb, G, B)

    		 Cm7

    (C, Eb, G, Bb)

    		 C min6

    (C, Eb, G, A)

     

    i VI VII III
    i VI VII III
    Cm9 | Cm7 | CmMaj7 | Cm7 Ab Maj7 Bb7 Eb Maj7

     

    i iv VI VII
    i iv VI VII
    Cm9 | Cm7 | CmMaj7 | Cm7 F min7 Ab Maj7 Bb7

     

    Circle Progression
    i iv VII III VI ii V7 i
    Cm | CmMaj7 | Cm7 | Cm6 F min7 Bb7 Eb Maj7 Ab Maj7 Dm7b5 G7 Cm7 | CmMaj7

     

    CmMaj7 as Passing Chord in G minor

    The CmMaj7 chord can be used as a passing chord in the G minor scale which has a C min7 on the fourth degree.

    i ii III iv v VI VII
    G min7 Am7b5 Bb Maj7 C min7 D min7 Eb Maj7 F7
    CmMaj7 as Passing Chord on the iv degree

    The following chord progressions feature a CmMaj7 chord in modulation to the iv degree in the key of G minor:

     

    iv III VI VII
    iv III VI VII
    Cm9 | Cm6 | CmMaj7 | Cm6 Bb Maj7 Eb Maj7 F7

     

    i iv VI v
    i iv VI v
    G min7 Cm9 | Cm6 | CmMaj7 | Cm6 Eb Maj7 D min7

     

    Circle Progression
    i iv VII III VI ii V7 i
    G min7 Cm7 | CmMaj7 F7 Bb Maj7 Eb Maj7 Am7b5 D7 G min7

     

    CmMaj7 as Passing Chord in F minor

    In the F minor scale, the CmMaj7 chord can serve as a passing chord within the fifth degree, Cm7.

    i ii III iv v VI VII
    F min7 Gm7b5 Ab Maj7 Bb min7 C min7 Db Maj7 Eb7
    CmMaj7 as Passing Chord on the v degree

     

    i iv VI v
    i iv VI v
    F min7 Bb min7 Db Maj7 Cm | CmMaj7 | Cm9 | C min

     

    i v VI VII
    i v VI VII
    F min7 Cm | CmMaj7 | Cm7 | Cm6 Db Maj7 Eb7

     

    i VI v iv
    i VI v iv
    F min7 Db Maj7 Cm | CmMaj7 | Cm7 | Cm6 Bb min7

     

    CmMaj7 as Passing Chord in Bb Major

    In the Bb major scale, the CmMaj7 chord can also serve as a passing chord on the ii degree.

    I ii iii IV V vi vii
    Bb Maj7 C min7 D min7 Eb Maj7 F7 G min7 Am7b5
    CmMaj7 as Passing Chord on the ii degree

     

    ii V I
    ii V I
    Cm7 | CmMaj7 F7 Bb Maj7

     

    Circle Progression
    I IV vii iii vi ii V I
    Bb Maj7 Eb Maj7 Am7b5 Dm7 G min7 Cm7 | CmMaj7 F7 Bb Maj7

     

    CmMaj7 as Passing Chord in Ab Major

    Another position where it could be possible to add some color modulating a Cm7 is in the Ab major scale on the iii degree.

    I ii iii IV V vi vii
    Ab Maj7 Bb min7 C min7 Db Maj7 Eb7 F min7 Gm7b5
    CmMaj7 as Passing Chord on the iii degree

     

    I iii IV V
    I iii IV V
    Ab Maj7 Cm9 | Cm | CmMaj7 | Cm Db Maj7 Eb7

     

    I iii ii V
    I iii ii V
    Ab Maj7 Cm | CmMaj7 | Cm9 | Cm Bb min7 Eb7

     

    I iii vi IV
    I iii vi IV
    Ab Maj7 Cm9 | Cm | CmMaj7 | Cm F min7 Db Maj7

     

    CmMaj7 as Passing Chord in Eb Major

    You can play the CmMaj7 in a modulation on the sixth degree of the Eb major scale.

    I ii iii IV V vi vii
    Eb Maj7 F min7 G min7 Ab Maj7 Bb7 C min7 Dm7b5
    CmMaj7 as Passing Chord on the vi degree

     

    I iii vi V
    I iii vi V
    Eb Maj7 G min7 Cm9 | Cm | CmMaj7 | Cm Bb7

     

    I vi ii V
    I vi ii V
    Eb Maj7 Cm9 | Cm | CmMaj7 | Cm F min7 Bb7

     

    Circle Progression
    I IV vii iii vi ii V I
    Eb Maj7 Ab Maj7 Dm7b5 Gm7 Cm7 | CmMaj7 F min7 Bb7 Eb Maj7

     

    Alternative Names for CmMaj7

    • C mΔ
    • C mM
    • C m7+
    • C mΔ7
    • C m(Δ)
    • C mM7
    • C minΔ
    • C m(+7)
    • C m(Δ7)
    • C minΔ7
    • C minorΔ
    • C m(maj7)
    • C m(Maj7)
    • C minMaj7
    • C min maj7
    • C m(Maj7th)
    • C minor major 7th
    • C minor major seventh

     

    Conclusion

    The chord progressions and examples presented in this post provide a comprehensive overview of the most common uses of the CmMaj7 chord. It’s important to note, however, that there are many advanced harmony-related topics that 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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