Bbmaj7

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The standard grips this chord is usually shown with.

Inversion
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About Bbmaj7

Bbmaj7 is Bb, D, F and A, a major seventh. The shape this page opens on is written x13231, lowest string first.

Bbmaj7 guitar chord diagram: Bb, D, F, A, played x13231
Bbmaj7, x13231 — the shape above, as a picture.

Also written BbM7, BbΔ7, BbΔ, Bbma7 or Bb major 7. The same chord either way; which spelling you meet depends on who wrote the chart.

There are 8 common shapes for Bbmaj7 on the guitar, and 36 derived voicings in 4 families.

In which keys. Every note of Bbmaj7 belongs to D minor (the ♭VI), F major (the IV), G minor (the ♭III) and Bb major (the I).

The common shapes, written lowest string first: x13231, xxx335, xx3335, 687766, x-x-8-10-10-10, x-13-12-10-10-10, x-13-12-14-11-x, x-13-15-14-15-13.

Shell. Root, third and seventh: the guide tones fix the quality, so the fifth is dropped. That is what leaves a string free, so pick a tension to put on top. Bbmaj7 has x102xx, 657xxx, x-13-12-14-x-x, x1x23x, 6x02xx, 6x77xx, x-13-x-14-15-x.

Drop 2. A close-position chord with the second voice from the top lowered an octave. Sits on four adjacent strings. Bbmaj7 has 1102xx, x1323x, xx3335, 5533xx, xx7766, 6877xx, x-x-8-10-10-10, x-12-12-10-11-x.

Drop 3. The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped. Bbmaj7 has x1x231, x5x365, 5x333x, x-8-x-7-10-6, 6x776x, 10-x-8-10-10-x, x-12-x-10-11-10, 13-x-12-14-11-x.

Open string. An open string left ringing against a fretted grip. Because it costs no finger, it sounds a note the closed shape has none left for -- a tension on top, or a pedal root underneath. Either a familiar grip with open strings added, or a shape so sparse the open strings carry the chord. These belong to their key rather than to a shape, so D, A, G and E have many and Eb a handful. Bbmaj7 has 6x7760, 5x3330, 6570xx, x00060, 5x0060, x00066.

Tensions. A shell of Bbmaj7, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (C), the #11 (E) and the 13 (G).

The common shapes and the derived voicings come from different places, and both are explained in where the chords and the theory come from.

Midi Settings

7.5
Play Style
One pass of the pick from the lowest string up, everything left ringing.
Instrument
350
150

Style

Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.

Layout

Left Handed Mode