The standard grips this chord is usually shown with.
Cmaj7 is C, E, G and B — C 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.

| C | E | G | B |
|---|---|---|---|
| 1 | 3 | 5 | 7 |
Also written CM7, CΔ7, CΔ, Cma7 or C major 7. The same chord either way; which spelling you meet depends on who wrote the chart.
Cmaj7 in 2nd inversion puts G in the bass instead of C, 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.
One of Cmaj7’s 8 common shapes does this:xx5557
Play Cmaj7 as a shell — root, third and seventh — and the spare string takes the 9 (D), the #11 (F#) or the 13 (A).
All 8 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 Cmaj7 is Dm7 to G7 — the ii and the V of C — and G7 shares its third and seventh with Dm7, so the hand barely moves between them.
In which keys. Every note of Cmaj7 belongs to C major (the I, the tonic), E minor (the ♭VI), G major (the IV, the subdominant) and A minor (the ♭III).
Every note of Cmaj7 is in C major and C lydian.
Change one note of Cmaj7 and you have C (drop the major seventh), Cmaj7b5 (the fifth becomes the flat fifth), Cmaj7#5 (the fifth becomes the sharp fifth), Cmaj9 (add the ninth), CmMaj7 (the major third becomes the minor third) or Cadd9 (the major seventh becomes the ninth).
Cmaj7 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.