DmMaj7 guitar chord
A close-position chord with the second voice from the top lowered an octave. Sits on four adjacent strings.
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- Fingers, notes or intervals
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About DmMaj7 — drop 2 voicings
DmMaj7 is D, F, A and C# — Dm 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.
DmMaj7 notes and formula
| D | F | A | C# |
|---|---|---|---|
| 1 | ♭3 | 5 | 7 |
Minor tonic — the tonic of the melodic minor.
Also written DmM7, Dm(maj7), D-Δ7 or DminMaj7. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play DmMaj7
Take the four notes stacked as close together as they go, then drop the second voice from the top an octave. The gap it opens is what makes the chord sound like a chord rather than a cluster.
It lands on four adjacent strings, which is why it is the workhorse voicing on guitar.
DmMaj7 has 13 of them, on the top four strings, the middle four strings and the bottom four strings, from open position up to the 12th — every inversion the chord has: D in the bass, F in the bass, A in the bass and C# in the bass. The one to learn first is the D shape at the nut, which is the easiest grip here.
5 of them sit on the top four strings, 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 xx0221 — no barre and 1 open string. 2 of the 7 shapes here sit in open position. 1 of the 7 needs a barre. Together they cover the neck from the 1st fret to the 14th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| xx0221 | open position | D, root position | F | 1 open string |
| x53220 | open position | D, root position | E | 1 open string |
| x57665 | 5th fret | D, root position | A | all fretted |
| x-8-7-7-10-9 | 7th fret | F, 1st inversion | C# | all fretted |
| x-x-12-10-10-9 | 9th fret | D, root position | C# | all fretted |
| 10-12-11-10-10-10 | 10th fret | D, root position | D | barred |
| x-x-12-14-14-13 | 12th fret | D, root position | F | all fretted |
The same notes rebuilt from scratch give 4 shell, 9 drop 3 and 6 open string voicings, each on its own page.
Tensions. A shell of DmMaj7, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (E), the 11 (G) and the 13 (B).
How to use DmMaj7
How you get to it. The turn that lands on DmMaj7 is Em7♭5 to A7♭9: the ii and the V of D minor, which is where a minor tonic is usually arrived at rather than simply begun on.
What to play over DmMaj7
Every note of DmMaj7 is in D harmonic minor and D melodic minor.
Chords near DmMaj7
Change one note of DmMaj7 and you have Dm (drop the major seventh), Dmaj7 (the minor third becomes a major third), Dm6 (the major seventh becomes a sixth), Dm7 (the major seventh becomes a flat seventh), DmMaj7b5 (the fifth becomes a flat fifth) or DmMaj9 (add the ninth).
DmMaj7 is a minor chord — root, minor third, fifth. Minor chords on every root.
On DmMaj7’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.