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Examples to practice spelling and identifying 7th chords in root position and inversion from a score or from lead sheet notation.
Examples to practice spelling and identifying 7th chords in root position and inversion from a score or from lead sheet notation.
7th Chord Spelling (All Root Position)
7th Chord Spelling (All Root Position)
On staff paper, spell out each of the chords in the song excerpts below.
4) Marvin Gaye, “Let's Get It On,” verse
From Let's Get it On (1973), written by Ed Townsend & Marvin Gaye
Audio: YouTube (0:00–0:23)
E♭ Gm7 A♭ B♭7
I've been really tryin', baby;
E♭ Gm7 A♭ B♭7
Tryin to hold back these feelings, for so long.
E♭ Gm7 A♭ B♭7
And if you feel, like I feel, baby;
E♭ Gm7 A♭ B♭7
Come on, oh, come on; woo!
9) NewJeans, “Ditto,” chorus
From Ditto (2022), written by Ylva Dimberg
Instructor Scores: PDF, Image, MuseScore
Student Copies: PDF, Image, MuseScore
Audio: YouTube (1:40–1:54)
7th Chord Spelling (with Inversions)
7th Chord Spelling (with Inversions)
On staff paper, spelling out each of the chords used in the song excerpts below.
4) Paul McCartney, “New,” verse 1
From New (2013), written by Paul McCartney
Audio: YouTube (0:03–0:28)
C C7/B♭ Am7 A♭+ C/G
Don't look at me, it's way too soon to see
G
What's gonna be, don't look at me
G#dim Am Dm C
All my life, I never knew what I could be
G Am7
What I could do, then we were new
C/G F C/G G
Ohhhh. . . . . . . . . . . .
5) SZA (ft. Doja Cat), “Kill Bill,” chorus
From SOS (2022), written by SZA, Rob Bisel & Carter Lang
Audio: YouTube (0:32–0:55)
Harmonic Rhythm:
| E♭7 | E♭7/G | A♭∆7 | A♭∆7|
|F7 | F7 | B♭m9 | B♭m | (x2)Note: The same progression repeats throughout the entire song.
B♭m E♭7 E♭7/G A♭∆ 7
I might kill my ex, not the best idea
F7 B♭m
His new girlfriend's next, how'd I get here?
E♭7 E♭7/G A♭∆ 7
I might kill my ex, I still love him, though
F7 B♭m9
Rather be in jail than alone
7th Chord ID (All Root Position)
7th Chord ID (All Root Position)
Identify the chords in the excerpts below using lead sheet notation or figured bass notation on the lines or brackets above the staff. Ignore any notes in parentheses.
1) Louise Reichardt, “Poesie von Tieck,” mm. 1–8
From 12 Deutsche und Italianische Romantische Gesange
Note: All of the notes in the piano part on the bottom two staves are part of the chord. Use this part to determine what the chords are. Once you've determined what the chords are, take a look at the vocal part. Circle any notes that are not part of the chord you've identified.
2) Ronettes, “Be My Baby,” verse
Single (1963), written by Jeff Barry, Ellie Greenwich, Phil Spector
Note: All of the notes in the treble line of the piano are part of the chord. The bassline and melody line include notes outside of the chord. Once you've determined what the chords are, circle any notes that are not part of the chord you've identified.
7th Chord ID (with Inversions)
7th Chord ID (with Inversions)
Identify the chords in the excerpts below by type and inversion (where appropriate) using lead sheet notation or figured bass notation on the lines or brackets above the staff. Ignore any notes in parentheses.
3) David Arnold, mm. 1–17
From the TV Series Good Omens (2019– 2023)
Directions: Label the chords using either lead sheet notation, Roman numerals, or both. Label one chord per measure. All of the notes are part of the chord with the exception of notes in parentheses.
4) A-ha, “Take On Me,” chorus
From Hunting High and Low (1985), music by Pal Waaktaar and Magne Furuholmne
Directions: Label the chords using either lead sheet notation, Roman numerals, or both. Label one chord per measure. All of the notes are part of the chord with the exception of the E in the fourth measure. Skip over the chord in m. 48.
5) Louise Reichardt, No. 3, “Durch die bunten Rosenhecken,” mm. 5–8
From Zwölf Deutsche und Italiänische Romantische Gesänge (1811)
Directions: Each note in the bass corresponds to a new chord. Label a chord using lead sheet notation above each bass note, starting with the first complete measure. All of the notes provided are chord tones with the exception of the C in the bass in m. 6 (beat 3) and the F in the melody in m. 7 (beat 1).
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