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THE CHORD ATLAS / MINOR SEVENTH

A minor seventh piano chord

The Am7 chord is built from A – C – E – G. See the exact keys, hear how they sound together, and explore how the chord changes when you move its lowest note.

4 notes4 voicingsFree to play & print
QUICK REFERENCE · EXACT NOTES

What notes are in the A minor seventh piano chord?

A minor seventh (Am7) is a minor seventh containing A, C, E and G. Its interval formula is root, minor third, perfect fifth and minor seventh.

What are the inversions of Am7?

Am7 has 4 positions: root position (A–C–E–G), first inversion (C–E–G–A), second inversion (E–G–A–C) and third inversion (G–A–C–E). Each inversion contains the same chord tones but puts a different note in the bass.

These are reference note spellings in twelve-tone equal temperament, not fixed fingerings. See the keys, hear each voicing, or learn chord spelling.

Interactive keyboard

Am7 Minor seventh

Selected notes: A – C – E – G

12-tone equal temperament
A minor seventh keyboard diagram showing A – C – E – G
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Change the bass

Explore the inversions

All inversions use the same pitch classes. Moving the bottom note up an octave changes the voicing, not the chord identity.

Explore Am7 across all voicings ↗

Root position: A · C · E · G

Lowest note: A. Each higher note is placed above the previous one.

A minor seventh piano keyboard, root positionHighlighted piano keys: A · C · E · G.C4ACC5EGC6
Learn the shape

How to play Am7 on piano

First, find A, the root of this chord. Then add C, the minor third. Add E to complete the triad. The fourth note, G, is a minor seventh above the root.

Play the notes together to hear the harmony, or one at a time to hear how the intervals form the chord. Start at a comfortable octave; the diagram shows one reference voicing, not the only valid place to play it.

What makes Am7 distinctive?

A minor seventh (A–C–E–G) consists entirely of white keys. It keeps the minor third C of the A minor triad, then adds G, which is a minor seventh (10 semitones) above A. This combination is common in smooth four-chord harmony.

How does Am7 compare with a related chord?

Compare Am7 to Cmaj7 (C–E–G–B): C, E and G are shared, while A changes to B. With the shared notes held, the bass and one moving note are enough to hear the difference. Contrast Am7 with A7 (A–C♯–E–G), where C♯ changes the chord's third.

A practice exercise for Am7

Start with A–C–E in a comfortable register and add G. Play Am7 in root position, then its first inversion C–E–G–A. For a four-bar loop try Cmaj7–Am7–Dm7–G7, one chord per bar; sustain C, E or G where a neighbor chord shares it.

One mistake to avoid

Am7 is not Amaj7 and not A7. Am7 has C natural and G natural; A7 changes C to C♯, while Amaj7 changes both C to C♯ and G to G♯.

Finger numbers depend on your hand size, octave and musical context; there isn't one universally correct fingering for every voicing.

A TWO-CHORD EAR-TRAINING CHALLENGE

Hear Am7 become Cmaj7

Play the all-white-key Am7 (A–C–E–G) and then Cmaj7 (C–E–G–B). Listen for the three notes that stay, and find the one voice that can move by a step.

Show the answer: which notes stay or move?

C, E and G are common to both four-note chords. Moving A up one whole step to B gives Cmaj7, a different chord with C as the root. It is not enough to move the bass and call the result an inversion of Am7.

Play each button after the previous sound fades. The exercise checks your listening; it does not record or score your performance.

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