Minor major seventh chord
| Component intervals from root | |
|---|---|
| major seventh | |
| perfect fifth | |
| minor third | |
| root | |
| Tuning | |
| 40:48:60:75 | |
|
Forte no. / |
|
| 4-19 / |
A minor major seventh chord, or minor/major seventh chord 
play (written as mM7, mΔ7, −Δ7, mM7, m/M7, m(M7), minmaj7, m⑦ ,m♮7, m7+, etc.), is a naturally occurring diatonic nondominant seventh chord in the harmonic minor scale. The chord is built on a root, and above that the intervals of a minor third, a major third above that note and above that a major third (see infobox). It can also be viewed as taking a minor triad and adding a major seventh. The traditional numerical notation is based on the degrees of the major diatonic scale, and by this notation a minor major seventh chord is degrees 1, ♭3, 5, 7 of the major scale. For instance, the CmM7 chord consists of the notes C, E♭, G, and B. The chord can be represented by the integer notation {0, 3, 7, 11}.
The chord occurs on the tonic when harmonizing the harmonic minor scale in seventh chords. The harmonic minor scale contains a raised seventh, creating a minor second interval between the seventh and the octave of the tonic. This half step creates a pull (leading tone) to the tonic that is useful in harmonic context and is not present in the natural minor scale (also known as the Aeolian mode). Traditionally, in classical and jazz contexts, when building a chord on the dominant of the minor tonality, this raised seventh is present, and so both of these chords have a strong pull to the tonic. The raised seventh, in conjunction with the minor third, creates the dissonant sonority of an augmented triad within the chord.
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