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The minMaj7 chord is a hilariously unique and distinct chord that is almost universally perceived as mysterious, creepy, or uncertain. I ask all my students how chords “feel” to them and none of them have EVER named this chord with a positive or bright emotion.

It’s good for a gag, but is also very lovely when combined in melodic ways. This video demonstrates the basics of the minor major 7th chord, the music theory on how to build it, where you may have heard it before, and some advice on how you might use it yourself.

Thank you to Linas Orentas for their generous support on my Patreon page!

Free online guitar lessons for beginners, intermediate, and advanced players. Located in Crystal Lake, Jake Lizzio provides free jam tracks and video lessons for guitar players, as well as music theory videos and other music education content.


Signals Music Studio says:

Quick fun MinMaj7 factoid I forgot to include- If you take an Augmented triad, you can pick any note and add in the tone a half step above it. This will give you a minMaj7 chord in some inversion or another. There is an Aug triad in every mM7 so you may get the Aug feel out of it, depending on the context

Phil Uniacke says:

See, this is where you lost me. Over the past year I’ve been self teaching theory and generally just trying to get a better grip on my guitar playing. So far, everything I’ve read or watched on YouTube, says you cannot “be in the key of ….mode”. I’ve been told you generally don’t say key of mixo or Lydian but rather the parent scale ( C Major in the case of G mixo) HELP! So confused right now…great video though, you are my favourite guitar bloke on the ‘tube.

Kaushik Hari says:

Very cool lesson! I always thought of the chorus of Something as a descending chromatic line (couldn't identify the MinMaj7).

Luiz Souza says:

That chord has film noir written all over it.

David Rapoport says:

Hang on a sec… you do a video on this “chord” yet there is no mention of how it formed, historically, through counterpoint.?? A very, VERY, notable example being the final movement of Bach’s Matthew Passion. Why?

RicardoDiazHimself says:

I find that the most "mysterious" form of the minMaj7 is one with a 9 up top. 1, b3, 7, 9. Let me know what you think!

Soundtorial says:

most of the soundtrack for the original run of Twin Peaks is based around minmaj7th

xybervid says:

Jake – your teaching method is excellent. I am learning as much about that as I am about music!

Caleb Sousa says:

I always liked to use that chord,even saw it on some songs…But just now i found its name.

Raymond Monath says:

Do one on major/minor 7.

Thiago Vieira says:

That progression using the minmajor 7 reminds minor plagal cadence
It's has something similar ?
And thanks for the videos <3

Bennett Turner says:

This sound quality is too good

Metaljay 289 says:

Soon as you start jamming over the piano track, it sounds like final fantasy 7… when you first bring Aeris to her mother's house.

binface9 says:

I like the trick with the D and the GmM7. I'm guessing it works because both chords contain the major 3rd interval between the D and the F#. I like using mM7 chords as extensions on the 1 in minor keys i.e. like you were saying about the harmonic minor scale

G G says:

Those are trumpets not horns lol

SchwartzerAdler says:

I think Dream Theater does this quite often. Misunderstood, for example.

Олег Стацевич says:

You’re amazing

SonnyLost says:

Best channel I've seen lately. Please consider going through jazz theory sometime.

erikbarrett85 says:

Love the Robbie Robertson intro

Remy Luciani says:

The I – iv7maj reminds me FF VII Tifa's theme.

bambo wambo says:

Nobody mentioned The Mysterious Stranger from Fallout?

Dude_guy says:

I was already doing the melodic thing with that DM Gmaj7 tonality and do it with m6 and augmented chords too. Never thought about it as a minor major 7. Cool video. Subbed.

Nitay Arbel says:

Tony Banks (of Genesis) seems to have a liking for minor-major chords (as he did for madd6 chords, which can also been seen as inverted m7b5) This soundtrack piece has a sequence of them: Cmmaj7-Dmmaj7-Emmaj7-Fmmaj7 which then resolves beautifully as as follows: Fmmaj7-Fm7-Fmadd6-Dbmaj7/F—G/D. (yes, WTH, but it works…)

James Taylor says:

Brilliant treatment of this material. Keep up the good work.

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