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Package leaflet · Information for the musician · Chord

B Dominant Seventh Chord (B7)

Bluesy, tense and driving. A major triad with a flat seventh: the tritone between the third and seventh wants to resolve.

  • B7
  • 4 notes
  • x21202

1Composition: what it contains

B – D♯ – F♯ – A

Symbol
B7
Also written
B7, Bdom7
Formula
1 3 5 ♭7
DegreeNoteIntervalSemitones
1Bunison0
3D♯major third4
5F♯perfect fifth7
♭7Aminor seventh10

2Appearance: diagrams and sound

On the guitar

B Dominant Seventh Chord (B7) – guitar chord diagram 1 (x21202)
x21202open position
B Dominant Seventh Chord (B7) – guitar chord diagram 2 (x24242)
x24242fret 2
B Dominant Seventh Chord (B7) – guitar chord diagram 3 (764445)
764445fret 4
B Dominant Seventh Chord (B7) – guitar chord diagram 4 (797877)
797877fret 7
B Dominant Seventh Chord (B7) – guitar chord diagram 5 (x-x-9-11-10-11)
x-x-9-11-10-11fret 9

On the ukulele

B Dominant Seventh Chord (B7) – ukulele chord diagram 1 (4320)
4320open position
B Dominant Seventh Chord (B7) – ukulele chord diagram 2 (2322)
2322fret 2
B Dominant Seventh Chord (B7) – ukulele chord diagram 3 (4656)
4656fret 4

On the piano

Piano keyboard

On the staff

Treble clef

On bass and as an arpeggio

Chord tones on the bass neck
Bass pattern: root and fifth
Bass arpeggio
Chord tones on the guitar neck (degrees)

3Indications: what it is used for

The V7 chord of a major or minor key, resolving to I or i: the most important cadence in tonal music. In blues, every chord (I7, IV7, V7) is a dominant seventh, used as a stable colour rather than tension. Secondary dominants (V7/ii, V7/V...) create chromatic movement, and tritone substitution replaces a V7 with the dominant seventh a tritone away. It is fundamental in jazz, blues, funk, rock and roll, gospel and classical music.

4Dosage: how to practise it

On guitar, learn the open shapes, the barre shapes rooted on the sixth and fifth strings, and shell voicings (root, third, seventh). On piano, play the chord in all inversions, then practise V7–I with the third resolving up a half step and the seventh resolving down. Play a twelve-bar blues with dominant sevenths at 80–120 BPM with a shuffle feel. Arpeggiate 1-3-5-♭7 on bass. Practise ii–V–I loops for ten minutes daily.

5Warnings and common mistakes

The symbol '7' alone means a dominant seventh (flat seventh), not a major seventh: this is the most common chord-symbol mistake. Do not confuse it with maj7 or m7. In voicings, omit the fifth rather than the third or seventh, which define the chord. The tritone between third and seventh should resolve properly in classical writing; parallel dominants are fine in blues. Avoid playing the root note of the next chord on top in a way that hides the resolution.

6Interactions with chords, scales and keys

Inversions

  • Inversion 1 · B7/D♯ · D♯ – F♯ – A – B
  • Inversion 2 · B7/F♯ · F♯ – A – B – D♯
  • Inversion 3 · B7/A · A – B – D♯ – F♯

Scales to play over B7

Where it appears (keys and Roman numerals)

7Other presentations available

The same chord from every note

C7 C♯7 D7 E♭7 E7 F7 F♯7 G7 A♭7 A7 B♭7

Other chords on B

B Bm Bdim Baug Bsus2 Bsus4 B5 B6 Bm6 Bmaj7 Bm7 Bm7♭5 Bdim7 Bm(maj7) B7sus4 Badd9 Bm(add9) B6/9 B9 Bmaj9 Bm9 B11 Bm11 B13 B7♭9 B7♯9 B7♯5 B7♭5

Read this leaflet carefully before playing. Keep it near your instrument. Free to use, print and share for personal and educational use.