Fm7 guitar chord
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.
- Tap a note to hear it
- Arrows change position
- Fingers, notes or intervals
- Play the chord
About Fm7 — open string voicings
Fm7 is F, Ab, C and Eb — Fm with the flat seventh added.
It sounds smooth and unhurried. The ii of every major key, so most progressions you already know begin on one of these.
Fm7 notes and formula
| F | Ab | C | Eb |
|---|---|---|---|
| 1 | ♭3 | 5 | ♭7 |
Pre-dominant — the ii of a major key, and a tonic in its own right.
Also written Fmin7, F-7 or F minor 7. The same chord either way; which spelling you meet depends on who wrote the chart.
How to play Fm7
An open string left ringing against a fretted grip. It costs no finger, so it can sound a note the closed shape has none left for: a tension on top, or a pedal root underneath.
These belong to their key rather than to a shape: they cannot be moved up the neck. D, A, G and E have many; E♭ has a handful.
Fm7 has 1 of them, only on the bottom four strings, all of them at the 4th fret — all in one inversion, so the bass note never moves. The one to learn first is the Ab shape at the 4th fret, which is the easiest grip here.
Start with xx3544 — no barre and low, at the 3rd fret. None of the shapes for Fm7 uses an open string, so every one of them is movable; the lowest sits at the 1st fret. 3 of the 7 need a barre. Together they cover the neck from the 1st fret to the 15th.
| Frets | Where | Bass | Top | Hand |
|---|---|---|---|---|
| 131111 | 1st fret | F, root position | F | barred |
| xx3544 | 3rd fret | F, root position | Ab | all fretted |
| x8686x | 6th fret | F, root position | F | all fretted |
| x8689x | 6th fret | F, root position | Ab | all fretted |
| x-8-10-8-9-8 | 8th fret | F, root position | C | barred |
| x-x-10-10-9-11 | 9th fret | C, 2nd inversion | Eb | all fretted |
| 13-15-13-13-13-13 | 13th fret | F, root position | F | barred |
The same notes rebuilt from scratch give 7 shell, 14 drop 2 and 9 drop 3 voicings, each on its own page.
Tensions. A shell of Fm7, root, third and seventh, leaves a string free, and the tones that belong over it are the 9 (G), the 11 (Bb) and the 13 (D).
How to use Fm7
How you get to it. The turn that lands on Fm7 is Gm7♭5 to C7♭9: the ii and the V of F minor, which is where a minor tonic is usually arrived at rather than simply begun on.
In which keys. Every note of Fm7 belongs to C minor (the iv), C# major (the iii), Eb major (the ii), F minor (the i), Ab major (the vi) and Bb minor (the v).
What to play over Fm7
Every note of Fm7 is in F minor pentatonic, F blues, F dorian, F natural minor and F phrygian.
Chords near Fm7
Change one note of Fm7 and you have Fm (drop the flat seventh), Fm6 (the flat seventh becomes a sixth), Fm7b5 (the fifth becomes a flat fifth), Fm9 (add the ninth), FmMaj7 (the flat seventh becomes a major seventh) or Fmadd9 (the flat seventh becomes a ninth).
Fm7 is a minor chord — root, minor third, fifth. Minor chords on every root.
On Fm7’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.