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- In music from Western culture, a seventh is a musical interval encompassing seven staff positions (see Interval number for more details), and the major seventh is one of two commonly occurring sevenths. It is qualified as major because it is the larger of the two. The major seventh spans eleven semitones, its smaller counterpart being the minor seventh, spanning ten semitones. For example, the interval from C to B is a major seventh, as the note B lies eleven semitones above C, and there are seven staff positions from C to B. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve). The intervals from the tonic (keynote) in an upward direction to the second, to the third, to the sixth, and to the seventh scale degrees (of a major scale are called major. The easiest way to locate and identify the major seventh is from the octave rather than the unison, and it is suggested that one sings the octave first. For example, the most commonly cited example of a melody featuring a major seventh is the tonic-octave-major seventh of the opening to "(Somewhere) Over the Rainbow". "Not many songwriters begin a melody with a major seventh interval; perhaps that's why there are few memorable examples." However, two songs provide exceptions to this generalisation: Cole Porter's "I love you" (1944) opens with a descending major seventh and Jesse Harris's "Don't Know Why",(made famous by Norah Jones in her 2002 debut album, Come Away with Me), starts with an ascending one. In the refrain of "Bali Hai" in "South Pacific," the third tone ("Hai") is a major seventh to the first ("Ba-"). The major seventh occurs most commonly built on the root of major triads, resulting in the chord type also known as major seventh chord or major-major seventh chord: including I7 and IV7 in major. "Major seven chords add jazziness to a musical passage. Alone, a major seventh interval can sound ugly." A major seventh in just intonation most often corresponds to a pitch ratio of 15:8; in 12-tone equal temperament, a major seventh is equal to eleven semitones, or 1100 cents, about 12 cents wider than the 15:8 major seventh. In 24-tone equal temperament a supermajor seventh, semiaugmented seventh or, semidiminished octave, 23 quarter-tones, is 1150 cents. The small major seventh is a ratio of 9:5, now identified as a just minor seventh. 35:18, or 1151.23 cents, is the ratio of the septimal semi-diminished octave. The 15:8 just major seventh occurs arises in the extended C major scale between C & B and F & E. The major seventh interval is considered one of the most dissonant intervals after its inversion the minor second. For this reason, its melodic use is infrequent in classical music. However, in the genial Gavotte from J.S. Bach’s Partita in E major for solo violin, a major seventh features both as a chord (bar 1) and as a melodic interval (bar 5): Another piece that makes more dramatic use of the major seventh is "The Hut on Fowl's Legs" from Mussorgsky's piano suite Pictures at an Exhibition (1874). Another is the closing duet from Verdi's Aida, "O terra addio". During the early 20th century, the major seventh was used increasingly both as a melodic and a harmonic interval, particularly by composers of the Second Viennese School. Anton Webern's Variations for Piano, Op. 27, opens with a major seventh and the interval recurs frequently throughout the piece. Under equal temperament this interval is enharmonically equivalent to a diminished octave (which has a similar musical use to the augmented unison). The major seventh chord is however very common in jazz, especially 'cool' jazz, and has a characteristically soft and sweet sound: think of the first chord in "The Girl from Ipanema". The major seventh chord consists of the first, third, fifth and seventh degrees (notes) of the major scale. In the key of C, it comprises the notes C E G and B. (en)
- En musique, une septième majeure est un intervalle de cinq tons et demi (onze demi-tons). Dans un tempérament égal à douze demi-tons (gamme tempérée), la septième majeure est l'équivalent enharmonique de l'octave diminuée. (fr)
- L'intervallo di settima maggiore è l'intervallo esistente tra due note distanti fra loro 11 semitoni, cioè 5 toni e mezzo. Per esempio, la settima maggiore di Do è Si. Il bicordo di due note distanti tra loro una settima maggiore è dissonante. La settima maggiore della fondamentale è utilizzata negli accordi di settima maggiore. In una scala la settima maggiore della tonica è detta Sensibile e ha un forte moto di risoluzione sulla tonica. (it)
- 大七度（major seventh）在西方文化的古典音樂裏，七度是一個橫跨七個五線譜位置（參見音程#音級）的音程。而大七度是兩個常見七度之一。它被稱為大的七度的原因是它是那兩個七度中較大的。大七度橫跨十一個半音，它對應較小的音程是小七度（橫跨十個半音）。例如：從C音到B音的音程是大七度，因為B音在C音的十一個半音之上，而且從C音到B音共有七個五線譜位置。和也是橫跨七個五線譜位置，但減七度橫跨九個半音，增七度橫跨十二個半音。 最容易找出大七度不是從主音開始，而是從八度開始，而且應先唱八度的音。最普遍的以「主音->八度->大七度」開頭的歌為(Somewhere) Over the Rainbow。「很少作曲家會以大七度作開頭編寫旋律，所以只有很少這樣的例子。」 大七度常建於三和弦上，產生的和弦稱為大七和弦或大調-大七度和弦：包含在大調的I7和弦和IV7和弦。「大七和弦會為一首樂曲加添爵士氣氛。單獨的大七度音程非常刺耳。」 在純律裏，大七度的音高比例通常是15:8（）；在十二平均律中，大七度是十一個半音（1100音分），比純律的大七度宽12音分。在二十四平均律中，大七度（或稱半增七度或半減八度）是二十三個四分一音（1150音分）。小大七度是9:5，現在是純律小七度。半減八度的比例是35:18（1151.23音分）。15:8純律大七度可在C大調找到，在C音與B音之間和F音與E音之間。 大七度是繼小二度後最的音程，因此，在古典音樂中很少在旋律中用它。其中一首用大七度的音樂是穆索斯基的展覽會之畫。另一個例子是阿依達的結尾二重奏「O terra addio」。 在十二平均律中，大七度和（和增一度差不多用法）是異名同音。 大七和弦在爵士樂中非常常見，而且有柔和甜美的特性：就像「伊帕內瑪姑娘」最後一個和弦一樣。大七和弦由大調中第一、三、五和七個音構成。在C大調裏，就是C音、E音、G音和B音。 (zh)
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- En musique, une septième majeure est un intervalle de cinq tons et demi (onze demi-tons). Dans un tempérament égal à douze demi-tons (gamme tempérée), la septième majeure est l'équivalent enharmonique de l'octave diminuée. (fr)
- L'intervallo di settima maggiore è l'intervallo esistente tra due note distanti fra loro 11 semitoni, cioè 5 toni e mezzo. Per esempio, la settima maggiore di Do è Si. Il bicordo di due note distanti tra loro una settima maggiore è dissonante. La settima maggiore della fondamentale è utilizzata negli accordi di settima maggiore. In una scala la settima maggiore della tonica è detta Sensibile e ha un forte moto di risoluzione sulla tonica. (it)
- In music from Western culture, a seventh is a musical interval encompassing seven staff positions (see Interval number for more details), and the major seventh is one of two commonly occurring sevenths. It is qualified as major because it is the larger of the two. The major seventh spans eleven semitones, its smaller counterpart being the minor seventh, spanning ten semitones. For example, the interval from C to B is a major seventh, as the note B lies eleven semitones above C, and there are seven staff positions from C to B. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve). (en)
- 大七度（major seventh）在西方文化的古典音樂裏，七度是一個橫跨七個五線譜位置（參見音程#音級）的音程。而大七度是兩個常見七度之一。它被稱為大的七度的原因是它是那兩個七度中較大的。大七度橫跨十一個半音，它對應較小的音程是小七度（橫跨十個半音）。例如：從C音到B音的音程是大七度，因為B音在C音的十一個半音之上，而且從C音到B音共有七個五線譜位置。和也是橫跨七個五線譜位置，但減七度橫跨九個半音，增七度橫跨十二個半音。 最容易找出大七度不是從主音開始，而是從八度開始，而且應先唱八度的音。最普遍的以「主音->八度->大七度」開頭的歌為(Somewhere) Over the Rainbow。「很少作曲家會以大七度作開頭編寫旋律，所以只有很少這樣的例子。」 大七度常建於三和弦上，產生的和弦稱為大七和弦或大調-大七度和弦：包含在大調的I7和弦和IV7和弦。「大七和弦會為一首樂曲加添爵士氣氛。單獨的大七度音程非常刺耳。」 在純律裏，大七度的音高比例通常是15:8（）；在十二平均律中，大七度是十一個半音（1100音分），比純律的大七度宽12音分。在二十四平均律中，大七度（或稱半增七度或半減八度）是二十三個四分一音（1150音分）。小大七度是9:5，現在是純律小七度。半減八度的比例是35:18（1151.23音分）。15:8純律大七度可在C大調找到，在C音與B音之間和F音與E音之間。 (zh)
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