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FmMaj7 Piano Chord

    Piano Diagram of FmMaj7 in Root Position

    F MMaj7 Chord Root Position Piano Diagram

    The FmMaj7 chord is a minor chord rooted in the key of F, consisting of the notes F, Ab, C, and E. 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 FmMaj7 chord and its role within chord progressions.

     

    Structure of FmMaj7

    Notes
    F, Ab, C, E

    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

     

    FmMaj7 Chord Inversions

     

    The FmMaj7 chord has a total of 3 inversions:

    Root Position: F Ab C E
    1st Inversion: Ab C E F
    2nd Inversion: C E F Ab
    3rd Inversion: E F Ab C

    Piano Keyboard Diagrams

    Music Theory and Harmony of FmMaj7

     

    Building the FmMaj7 Chord: Different Approaches

    Starting from the F Major Scale

    An F minor major 7th chord is formed by taking the root note F, adding a minor 3rd interval (Ab), a perfect 5th interval (C), and finally a major 7th interval (E). 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 an FmMaj7 chord, you can start with the F Major scale:

     

    F Major Diatonic Scale

    F Major Scale

     

    F Major Diatonic Scale up to 13th - Keyless Notation

    F Major scale – Keyless notation

     

    To create an F mMaj7 chord, apply the formula R, m3, 5, 7 in the following manner:

    1. Begin with the Root note, which is F.
    2. Select the minor 3rd interval, Ab.
    3. Include the 5th note, C.
    4. Finally, add the major 7th interval (E), 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:

    • F-Ab creates a minor 3rd interval,
    • Ab-C forms a major 3rd interval,
    • and C-E is another major 3rd interval.

    By stacking these three intervals together, we can build the FmMaj7 chord.

     

    How to Use FmMaj7 in a Chord Progression

     

    The FmMaj7 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 FmMaj7 chord is used as a passing chord, temporarily transitioning towards a more stable Fm7. 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 FmMaj7 chord, which is E, clashes with the Eb note present in both natural minor and major scales. For this reason, the FmMaj7 chord is not commonly used as a standalone chord (except in endings).

    The FmMaj7 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 F minor 7th, which can be complemented by an FmMaj7 chord.

     

    on Natural minor Scales

    Minor Scales i ii III iv v VI VII
    F FmMaj7 ⇒ F min7 Gm7b5 Ab Maj7 Bb min7 C min7 Db Maj7 Eb7
    C C min7 Dm7b5 Eb Maj7 FmMaj7 ⇒ F min7 G min7 Ab Maj7 Bb7
    Bb Bb min7 Cm7b5 Db Maj7 Eb min7 FmMaj7 ⇒ F min7 Gb Maj7 Ab7

    Non-diatonic passing chord to the:

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

     

    on Major Scales

    Major Scales I ii iii IV V vi vii
    Eb Eb Maj7 FmMaj7 ⇒ F min7 G min7 Ab Maj7 Bb7 C min7 Dm7b5
    Db Db Maj7 Eb min7 FmMaj7 ⇒ F min7 Gb Maj7 Ab7 Bb min7 Cm7b5
    Ab Ab Maj7 Bb min7 C min7 Db Maj7 Eb7 FmMaj7 ⇒ F min7 Gm7b5

    Non-diatonic passing chord to the:

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

     

    FmMaj7 Function in Major and minor Keys

    The chord FmMaj7 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 an Fm7 chord is feasible or appropriate.

     

    FmMaj7 as Passing Chord in F minor

    In the key of F minor, the FmMaj7 serves as a passing chord to the Tonic chord, Fm7. The chord’s major 7th note, E, clashes with the Eb note found in the F minor scale, creating a tension that needs to be resolved. This can be achieved by transitioning the chord to a more stable Fm7 chord, which typically occurs within the same measure as the FmMaj7 chord.

    Alternatively, the FmMaj7 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
    F min7 Gm7b5 Ab Maj7 Bb min7 C min7 Db Maj7 Eb7
    Fm(Maj7) as Passing Chord on the i degree

    The following chord progressions are examples of how the F minor major 7th chord can serve as a passing chord toward the tonic chord (Fm7).

     

    Chromatic modulation
    i iΔ i7 i6
    F min

    (F, Ab, C, F)

    		 FmMaj7

    (F, Ab, C, E)

    		 Fm7

    (F, Ab, C, Eb)

    		 F min6

    (F, Ab, C, D)

     

    i VI VII III
    i VI VII III
    Fm9 | Fm7 | FmMaj7 | Fm7 Db Maj7 Eb7 Ab Maj7

     

    i iv VI VII
    i iv VI VII
    Fm9 | Fm7 | FmMaj7 | Fm7 Bb min7 Db Maj7 Eb7

     

    Circle Progression
    i iv VII III VI ii V7 i
    Fm | FmMaj7 | Fm7 | Fm6 Bb min7 Eb7 Ab Maj7 Db Maj7 Gm7b5 C7 Fm7 | FmMaj7

     

    FmMaj7 as Passing Chord in C minor

    The FmMaj7 chord can be used as a passing chord in the C minor scale which has an F min7 on the fourth degree.

    i ii III iv v VI VII
    C min7 Dm7b5 Eb Maj7 F min7 G min7 Ab Maj7 Bb7
    FmMaj7 as Passing Chord on the iv degree

    The following chord progressions feature an FmMaj7 chord in modulation to the iv degree in the key of C minor:

     

    iv III VI VII
    iv III VI VII
    Fm9 | Fm6 | FmMaj7 | Fm6 Eb Maj7 Ab Maj7 Bb7

     

    i iv VI v
    i iv VI v
    C min7 Fm9 | Fm6 | FmMaj7 | Fm6 Ab Maj7 G min7

     

    Circle Progression
    i iv VII III VI ii V7 i
    C min7 Fm7 | FmMaj7 Bb7 Eb Maj7 Ab Maj7 Dm7b5 G7 C min7

     

    FmMaj7 as Passing Chord in Bb minor

    In the Bb minor scale, the FmMaj7 chord can serve as a passing chord within the fifth degree, Fm7.

    i ii III iv v VI VII
    Bb min7 Cm7b5 Db Maj7 Eb min7 F min7 Gb Maj7 Ab7
    FmMaj7 as Passing Chord on the v degree

     

    i iv VI v
    i iv VI v
    Bb min7 Eb min7 Gb Maj7 Fm | FmMaj7 | Fm9 | F min

     

    i v VI VII
    i v VI VII
    Bb min7 Fm | FmMaj7 | Fm7 | Fm6 Gb Maj7 Ab7

     

    i VI v iv
    i VI v iv
    Bb min7 Gb Maj7 Fm | FmMaj7 | Fm7 | Fm6 Eb min7

     

    FmMaj7 as Passing Chord in Eb Major

    In the Eb major scale, the FmMaj7 chord can also serve as a passing chord on the ii degree.

    I ii iii IV V vi vii
    Eb Maj7 F min7 G min7 Ab Maj7 Bb7 C min7 Dm7b5
    FmMaj7 as Passing Chord on the ii degree

     

    ii V I
    ii V I
    Fm7 | FmMaj7 Bb7 Eb Maj7

     

    Circle Progression
    I IV vii iii vi ii V I
    Eb Maj7 Ab Maj7 Dm7b5 Gm7 C min7 Fm7 | FmMaj7 Bb7 Eb Maj7

     

    FmMaj7 as Passing Chord in Db Major

    Another position where it could be possible to add some color modulating an Fm7 is in the Db major scale on the iii degree.

    I ii iii IV V vi vii
    Db Maj7 Eb min7 F min7 Gb Maj7 Ab7 Bb min7 Cm7b5
    FmMaj7 as Passing Chord on the iii degree

     

    I iii IV V
    I iii IV V
    Db Maj7 Fm9 | Fm | FmMaj7 | Fm Gb Maj7 Ab7

     

    I iii ii V
    I iii ii V
    Db Maj7 Fm | FmMaj7 | Fm9 | Fm Eb min7 Ab7

     

    I iii vi IV
    I iii vi IV
    Db Maj7 Fm9 | Fm | FmMaj7 | Fm Bb min7 Gb Maj7

     

    FmMaj7 as Passing Chord in Ab Major

    You can play the FmMaj7 in a modulation on the sixth degree of the Ab major scale.

    I ii iii IV V vi vii
    Ab Maj7 Bb min7 C min7 Db Maj7 Eb7 F min7 Gm7b5
    FmMaj7 as Passing Chord on the vi degree

     

    I iii vi V
    I iii vi V
    Ab Maj7 C min7 Fm9 | Fm | FmMaj7 | Fm Eb7

     

    I vi ii V
    I vi ii V
    Ab Maj7 Fm9 | Fm | FmMaj7 | Fm Bb min7 Eb7

     

    Circle Progression
    I IV vii iii vi ii V I
    Ab Maj7 Db Maj7 Gm7b5 Cm7 Fm7 | FmMaj7 Bb min7 Eb7 Ab Maj7

     

    Alternative Names for FmMaj7

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

     

    Conclusion

    The chord progressions and examples presented in this post provide a comprehensive overview of the most common uses of the FmMaj7 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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