Fmaj7
- F1
- A3
- C5
- E7
Fmaj7 is F, A, C and E.
Fmaj7 has four notes, and the DADGAD guitar has six strings to play them on. The rest of this page shows how a hand fits one to the other.
On the staff
On a treble staff, Fmaj7 is written F, A, C and E.
The staff shows the notes one after the other, then together. Written this way the chord is in close position, which means each note sits as near to the one below it as the spelling allows. The grips below arrange the same notes for your hand, often spread over more than an octave, so each one tells you which note is lowest.
Fmaj7 under a hand
Strummed from the lowest string to the highest, this grip sounds F, A, E, A, A and E, which are the degrees 1 3 7 3 3 7 rather than the 1 3 5 7 of the written chord. The root is the lowest note, so this grip is in root position and sounds the way the written chord suggests. With F in the bass and six strings sounding three notes, the 3 and 7 appear more than once. The 5 is left out altogether. A seventh chord gives up its fifth first, because the fifth adds the least to the chord's sound.
Strummed from the lowest string to the highest, this grip sounds A, E, A, A and F, which are the degrees 3 7 3 3 1 rather than the 1 3 5 7 of the written chord. The lowest note is the 3 rather than the root, so this grip is in first inversion, written Fmaj7/A. It has the same notes as the root-position grip, but with A in the bass it sounds different. With A in the bass and five strings sounding three notes, the 3 appears more than once. The 5 is left out altogether. A seventh chord gives up its fifth first, because the fifth adds the least to the chord's sound.
Strummed from the lowest string to the highest, this grip sounds C, E, A, A and F, which are the degrees 5 7 3 3 1 rather than the 1 3 5 7 of the written chord. The lowest note is the 5 rather than the root, so this grip is in second inversion, written Fmaj7/C. It has the same notes as the root-position grip, but with C in the bass it sounds different. With C in the bass and five strings sounding four notes, the 3 appears more than once.
Strummed from the lowest string to the highest, this grip sounds E, A, E, A, A and F, which are the degrees 7 3 7 3 3 1 rather than the 1 3 5 7 of the written chord. The lowest note is the 7 rather than the root, so this grip is in third inversion, written Fmaj7/E. It has the same notes as the root-position grip, but with E in the bass it sounds different. With E in the bass and six strings sounding three notes, the 3 and 7 appear more than once. The 5 is left out altogether. A seventh chord gives up its fifth first, because the fifth adds the least to the chord's sound.
Four shapes for Fmaj7 on DADGAD guitar: Fmaj7, Fmaj7/A, Fmaj7/C and Fmaj7/E.
Every grip here is Fmaj7, but no two of them sound alike. A chord with the root as its lowest note is in root position, and a chord with any other note at the bottom is an inversion. On a keyboard you choose the inversion you want, but on a neck the shape your hand can reach usually decides it for you. When a grip sounds a note more than once, the fretting hand decides which note that is, not the harmony.
F, A, C and E on the whole neck
This diagram marks every F, A, C and E on the first fifteen frets of the DADGAD guitar.
Every grip above is a handful of the notes on this diagram, and none of them uses a note that is not shown here.
Where Fmaj7 comes from
Fmaj7 is a chord of C major, D natural minor, F major and A natural minor.
A chord does not belong to a single key. Each major or natural minor key listed here contains every note of Fmaj7, which is why the same grip turns up in songs that otherwise have little in common.
The words on this page were written with the help of AI and may contain a mistake. Its diagrams are drawn by Everyfret’s own software. How Everyfret is made