Bm7 is B, D, F# and A. It keeps the triad and adds the .
In the pair below, the flat 7th replaces a repeated root. Compare with Bm7 to hear that one note change.
One repeated root moves down a whole step to the minor seventh. The other notes stay the same.
A common place to use Bm7 is the start of a ii–V. It moves to , the dominant chord a fourth higher.
Also written Bmin7, B-7 or B minor 7.
Bm7 is the ii of A major: it leads to the dominant a fourth higher. ii–Vs can be chained so each dominant leads to the next ii, and each minor chord’s seventh falls a half step to the next dominant’s third.
Listen for: One line walks down a half step per chord through the whole chain, and holds on the last as the major seventh.
Bm7 has exactly the notes of D6. Hold the shape and put the key’s root under it, and the vi chord becomes the I. That is why the vi can stand in for the home chord.
Listen for: Only the bass moves, up a minor third. The four notes above it never change.
Bm7 is the vi of the basic turnaround in D major. In jazz it is usually replaced by an altered dominant on the same root.
When a minor ii–V lands on Bm7 and the chord lasts two bars, the second bar can turn it into Bm6 or a minor-major seventh, melody permitting.
In which keys. Every note of Bm7 belongs to D major, E minor, F# minor, G major, A major and B minor.
Contains Bm7 and adds eleventh.
Contains Bm7 and adds eleventh and sharp eleventh.
Contains Bm7 and adds ninth, eleventh and flat thirteenth.
Contains Bm7 and adds ninth, eleventh and thirteenth.
Contains Bm7 and adds flat ninth, eleventh and flat thirteenth.
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.