In tab form, E is open, A 2nd fret, D 2nd fret, G 1st fret, all others open.
Notes: C, E♭, G, B♭
Chord Symbols: Cm7, Cmin7, C--7, C--
Intervals: 3rd-minor, 5th-perfect, 7th-minor
Does this help?
The notes for that scale are E, F#, G, A, B, C, D#, E. Harmonic minor scales have the augmented 2nd between the 6th and 7th scale degrees.
Am7 is A, C, E, and G
Typically, the note of the scale that you are on will be the chord that you play. 1 major 2 minor 3 minor 4 major 5 dominant seventh 6 minor 7 diminished
Diminished chords are very cool, and easy to understand. Diminished chords serve a cadential function just like a dominant 7. Let's look at a dominant 7 chord construction in the key of C: In the key of c the dominant chord would be a G Chord tones: G B D T make it a dominant 7 add the F: Chord Tones: G B D F look at the diminished chord in the key of C which would be a B Diminished: Chord tones: B D F To make it a diminished 7 or a minor 7b5 which is how it is most commonly referred to add the a Chord tones: B D F A This is all i could find out and know hope it helps
A ii7 chord is a minor seventh chord built on the second degree of the (usually major) scale. Thus in C major it would consist of the notes D-F-A-C, or in A major it would consist of B-D-F#-A. It is a predominant, usually resolving to some sort of V, with the chord seventh (scale degree 1) resolving down by step to the leading tone (scale degree 7). The chord is used probably most often in first inversion, in which case it is usually labelled ii6/5 The equivalent in the minor mode is iiø7, also usually found in first inversion. The only difference is that the chord fifth (scale degree six) is a chromatic semitone lower. Thus in C minor it would D-F-Ab-C, and in A minor B-D-F-A. It functions the same way, resolving to V with the chord seventh dropping to the leading tone.
The first, third, fifth, and seventh note derived from the C major scale, so: C-E-G-B for a major seventh chord (Cmaj7) and the seventh note flattened to Bb or B flat in the C7 chord commonly used in pop/blues as a final chord but in most classical music to be resolved in F.
You add an extra note into the original minor chord. An A minor chord consists of the notes A - C - E. The Am7 chord consists of A - C - E - G
There is no B minor 7 scale. B minor 7 is only a chord. If you still want to know what play over a Bm7 chord then i suggest you play one of the following scales: B minor, B minor pentatonic, B Dorian
Am7 is A, C, E, and G
Typically, the note of the scale that you are on will be the chord that you play. 1 major 2 minor 3 minor 4 major 5 dominant seventh 6 minor 7 diminished
Diminished chords are very cool, and easy to understand. Diminished chords serve a cadential function just like a dominant 7. Let's look at a dominant 7 chord construction in the key of C: In the key of c the dominant chord would be a G Chord tones: G B D T make it a dominant 7 add the F: Chord Tones: G B D F look at the diminished chord in the key of C which would be a B Diminished: Chord tones: B D F To make it a diminished 7 or a minor 7b5 which is how it is most commonly referred to add the a Chord tones: B D F A This is all i could find out and know hope it helps
G, Bb, D, F
F# dominant 7 contains Gb A Db E it is a Gb minor 7th (Gbm7)
The dominant 7th chord is composed of the root, major third, perfect fifth, and minor seventh. The dominant seventh for the F# key would be F#, A#, C# and E.
A ii7 chord is a minor seventh chord built on the second degree of the (usually major) scale. Thus in C major it would consist of the notes D-F-A-C, or in A major it would consist of B-D-F#-A. It is a predominant, usually resolving to some sort of V, with the chord seventh (scale degree 1) resolving down by step to the leading tone (scale degree 7). The chord is used probably most often in first inversion, in which case it is usually labelled ii6/5 The equivalent in the minor mode is iiø7, also usually found in first inversion. The only difference is that the chord fifth (scale degree six) is a chromatic semitone lower. Thus in C minor it would D-F-Ab-C, and in A minor B-D-F-A. It functions the same way, resolving to V with the chord seventh dropping to the leading tone.
The harmonic minor is used simply for the i-iv-v-i progression Cm - Fm - Gm (7)- Cm The G minor chord is technically a part of the C minor scale. However, the chord does not give the feeling of returning back to the tonic (which is C minor). Now if you play this new progression, you can feel the return to the tonic Cm - Fm - G(7)- Cm This raises the 7th of the scale to B natural, thus making the V chord major, giving us a stronger sense of resolution than the Vm-Im progression does. The melodic minor scale raises both the sixth and seventh degrees of the scale on the way up, creating a stronger pull to the tonic, but lowers them back on the way down, making the descending melody that of the Natural minor scale. This gives you the advantage of several alternate chords in the minor - a major IV and V chord (instead of minor ones) and a IIm chord (instead of a diminished). Using 4 part chords gives you even more alternate chords (ImMaj7, bVII Maj7, etc.) It also makes a smoother transition when modulating to the Tonic-Major key.
A chord is any three (or more) notes played at the same time. Every chord named for its base without any inversions. The following chords can be built off these numbers of any major scale: Major: 1 3 5 Minor: 1 b3 5 Diminished: 1 b3 b5 Augumented: 1 3 #5 Major-minor 7: 1 3 5 7 Major-Major 7: 1 3 5 b7
The first, third, fifth, and seventh note derived from the C major scale, so: C-E-G-B for a major seventh chord (Cmaj7) and the seventh note flattened to Bb or B flat in the C7 chord commonly used in pop/blues as a final chord but in most classical music to be resolved in F.