The standard grips this chord is usually shown with.
Amaj7 is A, C#, E and G# — A with the major seventh added on top.
It sounds lush, and only just resolved. The everyday tonic of jazz, bossa and neo-soul.
Tonic — a resting chord, but a soft one.

| A | C# | E | G# |
|---|---|---|---|
| 1 | 3 | 5 | 7 |
Also written AM7, AΔ7, AΔ, Ama7 or A major 7. The same chord either way; which spelling you meet depends on who wrote the chart.
Amaj7 in root position puts A in the bass, which is the chord as it is spelled: the note it is named after underneath everything else.
9 of Amaj7’s 10 common shapes do this:x02120x02224xxx224576655x07999xx7999x-12-11-9-9-9x-12-11-13-10-xx-12-14-13-14-12
Play Amaj7 as a shell — root, third and seventh — and the spare string takes the 9 (B), the #11 (D#) or the 13 (F#).
All 10 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
How you get to it. The turn that lands on Amaj7 is Bm7 to E7 — the ii and the V of A — and E7 shares its third and seventh with Bm7, so the hand barely moves between them.
In which keys. Every note of Amaj7 belongs to C# minor (the ♭VI), E major (the IV, the subdominant), F# minor (the ♭III) and A major (the I, the tonic).
Every note of Amaj7 is in A major and A lydian.
Change one note of Amaj7 and you have A (drop the major seventh), Amaj7b5 (the fifth becomes the flat fifth), Amaj7#5 (the fifth becomes the sharp fifth), Amaj9 (add the ninth), AmMaj7 (the major third becomes the minor third) or Aadd9 (the major seventh becomes the ninth).
Amaj7 is a major chord — root, major third, fifth. Major chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.