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The G7 chord

Think of the G7 as a dominant chord that wants to resolve. The chord is built from G - B - D - F, a textbook dominant seventh. It does its strongest work in every blues form and most jazz tunes, where it tends to push to the IV chord in blues. The G7 fits into more keys than most writers expect. The most-used dominant in the country songbook, and Bach used it constantly too. Voicings on both instruments, theory in plain language, progressions in multiple keys and a handful of real song references are all laid out below.

Hear the G7 in the chord builder →

Voicings for G7

Common ways to grip the G7 on guitar and piano. Guitar diagrams read low E to high E left-to-right; an × means muted, an open circle above the nut means an open string. Filled dots are fretted notes.

Guitar , full chord shapes

CAGED-derived voicings for G7 across the neck. Pick the shape closest to where your hand already sits.

Guitar: E7 shape at fr.3
Notes: G - B - D - F (chord tones)
Guitar: A7 shape at fr.10
Notes: G - B - D - F (chord tones)
Guitar: D7 shape at fr.5
Notes: G - B - D - F (chord tones)
Guitar: C7 shape at fr.7
Notes: G - B - D - F (chord tones)
Guitar: G7 shape
Notes: G - B - D - F (chord tones)

Guitar , triad shapes

Three-note voicings on three adjacent strings. Light textures for arpeggios, pop layering and chord-melody work.

Triad: top-string triad
Notes: 3-note voicing on adjacent strings
Triad: middle-string triad
Notes: 3-note voicing on adjacent strings
Triad: bass-side triad
Notes: 3-note voicing on adjacent strings

Piano voicings

Root position and inversions. The bass note matters: each inversion changes how the chord sits under a melody.

Piano: root position
Notes: G - B - D - F. Root G at the bottom. The classic stacked-thirds spelling of a dominant seventh.
Piano: first inversion
Notes: B - D - F - G. B at the bottom. Common in chord-melody, walking bass lines and gentler voicings.
Piano: second inversion
Notes: D - F - G - B. D at the bottom. A floating, suspended feel often used in hymns and ballads.
Piano: third inversion
Notes: F - G - B - D. F at the bottom. The seventh in the bass , a smooth jazz favourite.

The theory behind G7

G7 is a dominant seventh built on G. Its three or four notes (G - B - D - F) sit a specific distance apart: root, major third, perfect fifth, minor seventh. That makes it a passing chord in the key of a closely related major key, and the same chord works as the passing chord in a closely related major key. The simplest rule of thumb: the G7 wants to resolve down a fifth to the next chord.

Progressions that use G7

Short progressions that put the G7 to work. Each one is shown in a different key so you can pick the one that suits your singer.

IIVV key of C major
G7 (as passing colour)

This chord appears as a borrowed or passing chord in many major-key progressions.

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Songs that feature G7

Real records where this chord does structural work. No lyrics quoted, just the title and artist so you can pull up a copy and hear it in context.

Related chords

Chords a step away from the G7 in the songwriting circle, the natural neighbours when you want a substitution.

Keys where G7 lives

The keys where this chord turns up diatonically. Open any key page for the full set of progressions that lean on it.

More songwriting tools

Got the chord but still wrestling with the lyric? Find the right rhyme in RhymeForge, or break a writer's block with the unexpected word-pair generator in CollisionLab. Need to map a full progression? The chord builder on the home page is where the G7 fits into context. All free, no signup.

About the chord builder

The Undercover Zest chord progression builder is a free interactive tool that maps every diatonic and borrowed chord in every key. Click a Roman numeral to hear it, drag chords into a progression, then audition voicings, inversions and tensions until the song clicks.

This page is a static reference for the G7. For interactive playback, voice-leading hints and substitution suggestions, open the chord builder above.