Session 6: Seventh Chords

Overview

Phase: 2 — Harmonic Depth
Duration: 75 minutes
Prerequisites: Completed Phase 1 (Sessions 1-5). All 24 triads in all inversions. 9 major scales and 4 harmonic minor scales, 2 octaves hands together.

Learning Objectives

By the end of this session, you will be able to:

Build and play major 7th (Cmaj7), dominant 7th (G7, C7, D7), and minor 7th (Am7, Dm7, Em7) chords
Explain the construction formula for each 7th chord type
Demonstrate V7-to-I resolution in the key of C
Play keyboard voicings for 7th chords (not just stacked 3rds)
Perform a simplified arrangement of “Autumn Leaves” with both hands

Materials Needed

Casio CT-X9000IN keyboard (Jazz Organ or Electric Piano tone — we will set this up in CT-X9000IN Tips)
Metronome set to 72 BPM
Sustain pedal connected
This lesson plan open beside you

Warm-Up & Review (10 minutes)

Scale Rotation (4 minutes)

Play 4 scales, 2 octaves, hands together, 60-72 BPM:

A major — focus on even thumb-under
Eb major — focus on RH starting finger (3)
A harmonic minor — remember G#
G harmonic minor — remember F#

Chord Review (4 minutes)

Play these triads in THREE inversions (root, 1st, 2nd), RH, 4 beats each:

C major, then C minor
G major, then G minor
D major, then D minor
F major, then F minor

This reviews your Phase 1 chord vocabulary and prepares your ears for the 4th note we are about to add.

Quick Ear Check (2 minutes)

Close your eyes. Play a major chord and a minor chord (your choice of root). Can you identify each? Play a diminished chord — does it sound tense? Play an augmented chord — does it sound dreamy?

Theory / Harmony (10 minutes)

What Is a 7th Chord?

A triad has 3 notes (1st, 3rd, 5th). A 7th chord adds a 4th note — the 7th degree above the root. This extra note adds richness, complexity, and emotional depth.

There are three main types of 7th chords you need to know:

1. Major 7th (maj7)

Formula: Major triad + Major 7th

Example — Cmaj7: C-E-G-B

Sound: Warm, dreamy, sophisticated. The sound of jazz ballads and bossa nova.

Play Cmaj7 on your keyboard: C(1) E(2) G(3) B(5) — RH. Listen. It sounds lush, like a sunset.

2. Dominant 7th (7)

Formula: Major triad + Minor 7th

Example — G7: G-B-D-F

Sound: Bright but tense — it wants to resolve. This is the most important chord in tonal music because it creates the V-I resolution that drives all Western harmony.

Play G7: G(1) B(2) D(3) F(5) — RH. Now play C major right after it: C(1) E(3) G(5). Feel the tension-resolution? G7 → C is the fundamental harmonic motion of music.

3. Minor 7th (m7)

Formula: Minor triad + Minor 7th

Example — Am7: A-C-E-G

Sound: Mellow, soulful, slightly sad but smooth. The sound of R&B, neo-soul, and jazz.

Play Am7: A(1) C(2) E(3) G(5) — RH. Compare it to Am (A-C-E). The added G makes it softer, more complex.

V7-I Resolution

The most important chord progression in music is V7 → I — the dominant 7th chord resolving to the tonic.

In C major: G7 → C In G major: D7 → G In F major: C7 → F

Play G7 → C on your keyboard. The tension in G7 (caused by the interval between B and F — a tritone) resolves when you arrive at C major. This is the engine that drives songs to their endings.

Technique (15 minutes)

Building All Seven 7th Chords

Play each 7th chord as a block chord with your RH, 4 beats, then move to the next:

Cmaj7: C(1) E(2) G(3) B(5) — major 7th

G7: G(1) B(2) D(3) F(5) — dominant 7th

C7: C(1) E(2) G(3) Bb(5) — dominant 7th (compare to Cmaj7 — only the top note changes!)

D7: D(1) F#(2) A(3) C(5) — dominant 7th

Am7: A(1) C(2) E(3) G(5) — minor 7th

Dm7: D(1) F(2) A(3) C(5) — minor 7th

Em7: E(1) G(2) B(3) D(5) — minor 7th

Now play Cmaj7 and C7 back-to-back. The only difference is one note: B (major 7th) vs Bb (minor 7th). But listen to how dramatically the character changes. Cmaj7 sounds dreamy; C7 sounds bluesy and wants to resolve.

V7-I Resolution Drill

Practice V7 → I in three keys:

Key of C: G7 → C major

RH: G(1) B(2) D(3) F(5) → C(1) E(3) G(5)

LH: G(5) one octave below Middle C → C(5)

Key of G: D7 → G major

RH: D(1) F#(2) A(3) C(5) → G(1) B(3) D(5)

LH: D(5) → G(5)

Key of F: C7 → F major

RH: C(1) E(2) G(3) Bb(5) → F(1) A(3) C(5)

LH: C(5) → F(5)

Play each resolution slowly. Listen for the tension (V7) and the relief (I). This two-chord pattern is the most fundamental sound in tonal music.

Keyboard Voicings — Practical Chord Shapes

In stacked position (1-2-3-5), 7th chords can feel stretched. Here are more practical voicings you will use in songs:

Cmaj7 voicing: LH plays C(5), RH plays E(1) G(2) B(4) — spread between hands

G7 voicing: LH plays G(5), RH plays B(1) D(2) F(4)

Am7 voicing: LH plays A(5), RH plays C(1) E(2) G(4)

Dm7 voicing: LH plays D(5), RH plays F(1) A(2) C(4)

These two-hand voicings sound fuller and are easier to transition between. You will use them in the “Autumn Leaves” arrangement.

Repertoire / Genre (25 minutes)

“Autumn Leaves” — Simplified Arrangement

“Autumn Leaves” (originally “Les Feuilles Mortes” by Joseph Kosma) is the quintessential jazz standard for learning 7th chords. Its chord progression — a circle of 5ths — is one of the most common in all of jazz.

Tempo: 80 BPM | Time Signature: 4/4 | Key: G minor / Bb major (simplified to Am / C major for this arrangement)

Chord Progression (each chord = 1 measure):

Measure	Chord	Type
1	Dm7	minor 7th
2	G7	dominant 7th
3	Cmaj7	major 7th
4	Fmaj7	major 7th
5	Dm7	minor 7th
6	E7	dominant 7th
7-8	Am	minor (tonic)

This is a ii-V-I-IV in C major (measures 1-4), then ii-V-i in A minor (measures 5-7). This pattern is the foundation of jazz harmony.

Right Hand — Melody:

Measure 1 (Dm7): E(3) rest F(4) G(5) | (half, rest, quarter, quarter)

Measure 2 (G7): A(5) rest G(4) A(5) | (half, rest, quarter, quarter)

Measure 3 (Cmaj7): B(5) rest A(4) G(3) | (half, rest, quarter, quarter)

Measure 4 (Fmaj7): A(4) rest rest rest | (whole note, hold)

Measure 5 (Dm7): D(2) rest E(3) F(4) | (half, rest, quarter, quarter)

Measure 6 (E7): G(5) rest F(4) E(3) | (half, rest, quarter, quarter)

Measure 7 (Am): E(3) rest rest rest | (whole note, hold)

Measure 8 (Am): rest rest rest rest | (4 beats rest)

Left Hand — Chord Voicings (two notes per chord — root + 7th, simplified):

Measure 1 (Dm7): D(5) C(1) — hold full measure

Measure 2 (G7): G(5) F(1) — hold full measure

Measure 3 (Cmaj7): C(5) B(1) — hold full measure

Measure 4 (Fmaj7): F(5) E(1) — hold full measure

Measure 5 (Dm7): D(5) C(1) — hold full measure

Measure 6 (E7): E(5) D(1) — hold full measure

Measure 7 (Am): A(5) E(1) — hold full measure (root + 5th for minor resolution)

Measure 8 (Am): A(5) E(1) — hold full measure

X:1 T:Autumn Leaves (Simplified) M:4/4 L:1/4 K:Am V:1 clef=treble name="RH" "3"E z "4"F "5"G | "5"A z "4"G "5"A | "5"B z "4"A "3"G | "4"A3 z | "2"D z "3"E "4"F | "5"G z "4"F "3"E | "3"E3 z | z4 |] V:2 clef=bass name="LH" "5"D, "1"C | "5"G,, "1"F, | "5"C, "1"B, | "5"F, "1"E | "5"D, "1"C | "5"E, "1"D | "5"A,, "1"E, | "5"A,, "1"E, |]

Both Hands Together — Practice Strategy:

LH alone, all 8 measures — The LH plays simple 2-note voicings (root + 7th or root + 5th). These are called “shell voicings” — stripped-down jazz chords. Play at 60 BPM until automatic.
RH melody alone, measures 1-4 — The melody uses scale tones. Play slowly, listening to how each melody note relates to the chord below.
RH melody alone, measures 5-8 — Similar pattern but resolving to Am.
Both hands, measures 1-2 — The melody enters on beat 1, then the rhythmic gaps let the chord breathe. 4 times.
Both hands, measures 3-4 — 4 times.
Both hands, measures 1-8 — full piece at 72 BPM.
Target: play the full 8-bar progression at 80 BPM with a relaxed, swinging feel.

Expression:

“Autumn Leaves” should sound relaxed, nostalgic, slightly melancholy. Do not rush.
Let the melody notes ring — use light pedal at the chord changes.
The LH shell voicings should be quiet — they support the melody, not compete with it.
Try playing it twice through: the first time as written, the second time slightly varying the rhythm of the melody (adding a slight swing or delay). This is how jazz musicians personalize a melody.

Creative / Ear Training (10 minutes)

Hearing 7th Chord Qualities

Exercise 1: Cmaj7 vs C7 (3 minutes)

Play these back-to-back:

C major triad: C-E-G — simple, clean
Cmaj7: C-E-G-B — warm, dreamy, “sophisticated”
C7: C-E-G-Bb — bluesy, tense, wants to resolve

Now close your eyes. Play one of the three. Can you identify it?

Ear cue: Cmaj7 sounds “pretty” — it could end a piece. C7 sounds “unfinished” — it needs to go somewhere (to F). The triad is simpler and more neutral.

Exercise 2: Which Is “Jazzy”? Which Is “Classical”? (3 minutes)

Play these two progressions:

Progression A: C → F → G → C (all triads — I-IV-V-I) Progression B: Cmaj7 → Dm7 → G7 → Cmaj7 (all 7th chords — Imaj7-ii7-V7-Imaj7)

Which sounds more “classical”? Which sounds more “jazzy”?

Progression A (triads) tends to sound classical, hymn-like, or folk. Progression B (7th chords) sounds immediately jazzy, modern, sophisticated. The 7th chords add colour and complexity.

Exercise 3: V7-I by Ear (4 minutes)

Play these V7-I resolutions. After each, close your eyes and play a random V7 chord — then see if you can find the I chord it resolves to:

G7 → C (you know this one)
D7 → G
C7 → F
A7 → D (try this — what is A7? A-C#-E-G)
E7 → A (E-G#-B-D → A major)

The rule: any dominant 7th chord resolves down a 5th (or up a 4th) to its target. This V7-I motion is the most powerful harmonic force in music.

Review & Homework (5 minutes)

Summary

Today you:

Built and played Cmaj7, G7, C7, D7, Am7, Dm7, and Em7
Understood the three 7th chord formulas (major 7th, dominant 7th, minor 7th)
Practiced V7-I resolution — the fundamental harmonic motion
Learned shell voicings for practical chord playing
Performed a simplified “Autumn Leaves” — your first jazz standard

Self-Check Questions

What is the difference between Cmaj7 and C7? (Name the notes in each)
What makes a dominant 7th chord want to resolve?
In the key of G, what is the V7 chord? What does it resolve to?
What is a “shell voicing”? Why is it useful for jazz?

Practice Homework (Before Next Session)

7th chord drill — 10 minutes daily. Play Cmaj7, G7, C7, D7, Am7, Dm7, Em7 as block chords. Then practice the shell voicings (LH root + 7th).
V7-I resolution — 5 minutes daily. Practice in C, G, F, D, and A. Both hands (LH bass + RH triad for the I chord).
“Autumn Leaves” — 15 minutes daily. Learn measures 1-4 first, then 5-8, then full piece. Target: both hands at 80 BPM.
Scale maintenance — 10 minutes daily. 4 scales, 2 octaves, HT, at 60-72 BPM.
Ear training — 5 minutes daily. Play Cmaj7, C7, and Cm7. Close eyes, play one at random, identify it.
Total: ~45-50 minutes daily

Common Mistakes to Watch For

Confusing Cmaj7 and C7: Cmaj7 has B (major 7th). C7 has Bb (minor 7th). One letter difference in the name, one semitone difference on the keyboard, but a huge difference in sound and function.
Playing 7th chords too loudly: Jazz 7th chords should sound smooth and mellow, not punchy. Use a lighter touch, especially in the LH shell voicings.
Rushing “Autumn Leaves”: This is jazz — it should feel relaxed. If you are rushing, slow the metronome down. The melody should breathe.

CT-X9000IN Tips

Jazz Tones for “Autumn Leaves”

Your CT-X9000IN has tones perfect for jazz:

Jazz Organ (Tone 016 area): The classic jazz organ sound adds warmth and sustain to 7th chords. Try playing “Autumn Leaves” on organ — it transforms the piece.
Electric Piano (Tone 004/005 — e.g., Stage E.Piano, FM E.Piano): The Rhodes-style electric piano is THE jazz keyboard sound. Mellow, warm, with a bell-like attack.
Vibraphone (Tone 011): For a cool jazz feel, try vibraphone. The “Autumn Leaves” melody sounds gorgeous on vibes.

Try this experiment: Play the “Autumn Leaves” arrangement three times — once on Grand Piano, once on Electric Piano, once on Jazz Organ. Notice how the same notes feel completely different on each tone. This is part of being a keyboard player — choosing the right tone for the right mood.

Save your jazz setup to Registration 5:

Tone: Electric Piano (your preferred variant)
Metronome: 80 BPM, 4/4
Touch response: Normal