The standard grips this chord is usually shown with.
Am7 is A, C, E and G — Am with the flat seventh added.
It sounds smooth and unhurried. The ii of every major key, so most progressions you already know begin on one of these.

| A | C | E | G |
|---|---|---|---|
| 1 | ♭3 | 5 | ♭7 |
Pre-dominant — the ii of a major key, and a tonic in its own right.
Also written Amin7, A-7 or A minor 7. The same chord either way; which spelling you meet depends on who wrote the chart.
Am7 in 2nd inversion puts E in the bass instead of A, the 5th of the chord. The notes are the same; what changes is what the bass line does, which is most of why you would reach for it — it lets the lowest voice move by step where the root would have jumped.
2 of Am7’s 9 common shapes do this: xx2213, x-x-14-14-13-15.
Start with x02010 — no barre and 3 open strings. 2 of the 9 shapes here sit in open position. 2 of the 9 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x02010 | open position | A, root position | E | 3 open strings |
| x02213 | open position | A, root position | G | 1 open string |
| xx2213 | 1st fret | E, 2nd inversion | G | all fretted |
| 575555 | 5th fret | A, root position | A | barred |
| xx7988 | 7th fret | A, root position | C | all fretted |
| x-12-10-12-10-x | 10th fret | A, root position | A | all fretted |
| x-12-10-12-13-x | 10th fret | A, root position | C | all fretted |
| x-12-14-12-13-12 | 12th fret | A, root position | E | barred |
| x-x-14-14-13-15 | 13th fret | E, 2nd inversion | G | all fretted |
The same notes rebuilt from scratch give 7 shell, 15 drop 2, 10 drop 3 and 6 open string voicings, each on its own page.
Tensions. A shell of Am7, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (B), the 11 (D) and the 13 (F#).
How you get to it. The turn that lands on Am7 is Bm7♭5 to E7♭9: the ii and the V of A minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Am7 belongs to C major (the vi), D minor (the v), E minor (the iv), F major (the iii), G major (the ii) and A minor (the i).
Every note of Am7 is in A minor pentatonic, A blues, A dorian, A natural minor and A phrygian.
Change one note of Am7 and you have Am (drop the flat seventh), Am6 (the flat seventh becomes a sixth), Am7b5 (the fifth becomes a flat fifth), Am9 (add the ninth), AmMaj7 (the flat seventh becomes a major seventh) or Amadd9 (the flat seventh becomes a ninth).
Am7 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Am7’s sound and use this page follows Mark Levine, The Jazz Theory Book (Sher Music, 1995). The shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.