\n
\n…the minor seventh chord can be formed on the first scale degree (aka – “the tonic”), which is A:
\n
\n“Here’s How It’s Formed…”<\/em><\/p>\n
Using the pick-skip technique, the A minor seventh chord can be formed by picking A:
\n
\n…skipping B and picking C:
\n
\n…skipping D and picking E:
\n
\n…picking F and picking G:
\n
\nAltogether, we have the A minor seventh chord:
\n
\nBeyond knowing what the minor seventh chord is, let’s go deeper and expound on these words:<\/p>\n
- \n
- Minor<\/li>\n
- Seventh<\/li>\n
- Chord<\/li>\n<\/ul>\n
The Term Minor – Explained<\/em><\/h3>\n
Musical elements like scales, intervals, chords, chord progressions etc., can have either of these characters:<\/p>\n
- \n
- Major<\/li>\n
- Minor<\/li>\n<\/ul>\n
Due to the fact that the character of a key can either be major or minor, the chord of the first degree of a key usually takes on the character of the key. Hence, the use of the term minor here suggests a possible relationship with the minor key.<\/p>\n
The Term Seventh – Explained<\/em><\/h3>\n
Intervals and chords are can be quantified using cardinal numbers like first, second, third, etc.<\/p>\n
The term seventh is used to describe a chord [or interval] that encompasses seven degrees of the scale.<\/p>\n
The A minor seventh chord:
\n
\n…we came across earlier, encompasses SEVEN tones of the A natural minor scale:
\n
\n…from A to G:
\n<\/p>\n
The Term Chord – Explained<\/em><\/h3>\n
A chord is a collection of three or more related notes (agreeable or not) that are played or heard together.<\/p>\n
A minor seventh chord:
\n
\n…consists of four notes that are related by the A natural minor scale:
\n
\n…and third intervals.<\/p>\nThe notes of the A minor seventh chord:
\n
\n…are the first, third, fifth, and seventh tones of the A natural minor scale:
\n
\n…and are apart from each other by third intervals. A to C:
\n
\n…is a third interval, and so are C to E:
\n
\n…and E to G:
\n
\nLet’s proceed into our main focus in today’s lesson – the breakdown of the minor seventh chord into mutual third intervals.<\/p>\nIntervallic Breakdown Of The Minor Seventh Chord Into Mutual Third Intervals<\/h2>\n
The minor seventh chord can be broken down into mutual third intervals. For example, the C minor seventh chord:
\n
\n…can be broken down into the C minor third interval (C-Eb):
\n
\n…and the G minor third interval (G-Bb):
\n
\nThese third intervals:<\/p>\nC-Eb<\/p>\n
G-Bb<\/p><\/blockquote>\n
…are the intervallic components of the C minor seventh chord.<\/p>\n
Advanced musicians consider the minor seventh chord as a combination of two mutual third intervals, and it helps them in the A & B voicing of the minor seventh chord.<\/p>\n
The A & B Voicing Of The Minor Seventh Chord<\/h3>\n
Voicing is the consideration of the notes of a chord as voices – soprano, alto, tenor, and bass voices.<\/p>\n
Due to this consideration, the notes of a chord are rearranged using certain techniques (commonly known as voicing techniques) and the A & B voicing technique is one of those techniques.<\/p>\n
In the A voicing of a chord, the third tone is played before the seventh tone, while the seventh tone is played or heard before the third tone in the B voicing of a chord. Using the C minor seventh chord:
\n
\n…as a reference, in the A voicing of the C minor seventh chord:
\n
\n…the third tone (which is Eb):
\n
\n…is played [or heard] before the seventh tone (which is Bb):
\n
\nIn the B voicing of the C minor seventh chord:
\n
\n…the seventh tone (which is Bb):
\n
\n…is played [or heard] before the third tone (which is Eb):
\n
\nAltogether, the C minor seventh chord can either be played in its A voicing:
\n
\n…or its B voicing:
\n<\/p>\n
How Mutual Third Intervals Help Advanced Musicians To Switch Between The A & B Voicing Of A Chord<\/h3>\n
Advanced musicians find it easy to switch from the A voicing of a given minor seventh chord to its B voicing because they have a proper understanding of the mutual third intervals it’s made up of. For example, the C minor seventh chord:
\n
\n…is made up of the C minor third interval:
\n
\n…and the G minor third interval:
\n
\nWhen the C minor third interval:
\n
\n….is played before the G minor third interval:
\n
\n…this produces the A voicing of the C minor seventh chord:
\n
\nConversely, when the G minor third interval:
\n
\n…is played before the C minor third interval:
\n
\n…this produces the B voicing of the C minor seventh chord:
\n
\n“Let’s Take Another Example…”<\/em><\/p>\nFor example, in the A\u00a0voicing of the G minor seventh chord:
\n
\n…where the G minor third interval:
\n
\n…is played before the D minor third interval:
\n
\n…playing the D minor third interval:
\n
\n…before the G minor third interval:
\n
\n…produces the B voicing of the G minor seventh chord:
\n
\nFollowing the same procedure, advanced pianists switch from the A voicing of any minor seventh chord to its B voicing by changing the order of the third intervals.<\/p>\nFinal Words<\/h2>\n
From what we’ve learned so far in this lesson, I’m doubly sure that you can break up any minor seventh chord into mutual intervals, and also switch from the A voicing of any given minor seventh chord to its B voicing with little or no effort.<\/p>\n
We’ll continue this discussion in another lesson – see you then!<\/p>\n","protected":false},"excerpt":{"rendered":"
If you’re interested in learning how advanced musicians consider the minor seventh chord, then this lesson is for you.<\/p>\n","protected":false},"author":9,"featured_media":22680,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,416,9],"tags":[17,647,2093,2383],"class_list":["post-12258","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-experienced-players","category-piano","tag-basic-songs","tag-minor-seventh-chord","tag-mutual-intervals","tag-mutual-third-intervals","post-wrapper","thrv_wrapper"],"yoast_head":"\n
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