BbmMaj7 guitar chord
The third voice from the top lowered an octave. The dropped voice becomes the bass, which is why a string is skipped.
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About BbmMaj7 — drop 3 voicings
BbmMaj7 is Bb, Db, F and A — Bbm with the major seventh added on top.
It sounds tense and wrong-footed. A minor triad carrying a major seventh: the semitone under the root over a minor chord is the first bar of a line cliché.
BbmMaj7 notes and formula
| Bb | Db | F | A |
|---|---|---|---|
| 1 | ♭3 | 5 | 7 |
Minor tonic — the tonic of the melodic minor.
Also written BbmM7, Bbm(maj7), Bb-Δ7 or BbminMaj7. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play BbmMaj7
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
BbmMaj7 has 9 of them, on strings 5-3-2-1 and strings 6-4-3-2, from open position up to the 13th — every inversion the chord has: Bb in the bass, Db in the bass, F in the bass and A in the bass. The one to learn first is the Bb shape at the nut.
5 of them sit on strings 5-3-2-1, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
Start with xx8665 — no barre and low, at the 5th fret. None of the shapes for BbmMaj7 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 1 of the 7 needs a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| x13221 | 1st fret | Bb, root position | F | all fretted |
| x43365 | 3rd fret | Db, 1st inversion | A | all fretted |
| xx8665 | 5th fret | Bb, root position | A | all fretted |
| 687666 | 6th fret | Bb, root position | Bb | barred |
| x-x-8-10-10-9 | 8th fret | Bb, root position | Db | all fretted |
| x-13-11-10-10-x | 10th fret | Bb, root position | A | all fretted |
| x-13-15-14-14-13 | 13th fret | Bb, root position | F | all fretted |
The same notes rebuilt from scratch give 5 shell, 13 drop 2 and 2 open string voicings, each on its own page.
Tensions. A shell of BbmMaj7, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (C), the 11 (Eb) and the 13 (G).
How to use BbmMaj7
How you get to it. The turn that lands on BbmMaj7 is Cm7♭5 to F7♭9: the ii and the V of Bb minor, which is where a minor tonic is usually arrived at rather than simply begun on.
What to play over BbmMaj7
Every note of BbmMaj7 is in Bb harmonic minor and Bb melodic minor.
Chords near BbmMaj7
Change one note of BbmMaj7 and you have Bbm (drop the major seventh), Bbmaj7 (the minor third becomes a major third), Bbm6 (the major seventh becomes a sixth), Bbm7 (the major seventh becomes a flat seventh), BbmMaj7b5 (the fifth becomes a flat fifth) or BbmMaj9 (add the ninth).
BbmMaj7 is a minor chord — root, minor third, fifth. Minor chords on every root.
On BbmMaj7’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.