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In music, a minor seventh chord is any nondominant seventh chord where the "third" note is a minor third above the root. Correct Most typically, ''minor seventh chord'' refers to where the "seventh" note is a minor seventh above the root (a fifth above the third note). This is more precisely known as a ''minor/minor seventh chord'', and it can be represented as either as m7 or -7, or in integer notation, . In a natural minor scale, this chord is on the tonic, subdominant, and dominant〔 degrees. In a harmonic minor scale, this chord is on the subdominant〔 degrees. In an ascending melodic minor scale, this chord is on the supertonic〔 degree. In a major scale, this chord is on the second (supertonic seventh), third (mediant) or sixth (submediant)〔Benward & Saker (2003), p.229.〕 degrees. For instance the ii7 in the ii-V-I turnaround. Example of tonic minor seventh chords include LaBelle's "Lady Marmalade", Roberta Flack's "Killing Me Softly with His Song", Chic's "Le Freak", and the Eagles' "One Of These Nights".〔Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p.83. ISBN 978-0-300-09239-4.〕 When the seventh note is a major seventh above the root, it is called a minor/major seventh chord. Its harmonic function is similar to that of a "normal" minor seventh, as is the minor seven flat five or half-diminished chord – but in each case, the altered tone (seventh or fifth, respectively) creates a different feeling which is exploited in modulations and to use leading-tones. ==Minor seventh as virtual +6 chord== The minor seventh chord may also have its interval of minor seventh (between root and seventh degree, i.e.: in ) rewritten as an augmented sixth .〔Ouseley, Frederick. A. Gore (1868). ''A Treatise on Harmony'', pg. 137, Oxford, Clarendon Press.〕 Rearranging and transposing, this gives , a virtual minor version of the German augmented sixth chord.〔Ouseley, Frederick. A. Gore (1868). ''A Treatise on Harmony'', pg. 143ff, Oxford, Clarendon Press.〕 Again like the typical +6, this enharmonic interpretation gives on a resolution irregular for the minor seventh but normal for the augmented sixth chord, where the 2 voices at the enharmonic major second converge to unison or diverge to octave.〔Christ, William (1966). ''Materials and Structure of Music'', v.2, p. 154. Englewood Cliffs: Prentice-Hall. LOC 66-14354.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Minor seventh chord」の詳細全文を読む スポンサード リンク
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