A#maj7 cavaquinho chord

A#maj7 (A sharp major seventh) is built from A#, C##, E# and G##, the degrees 1–3–5–7. On cavaquinho, the main shape is 3 3 3 7, the first diagram, marked with the star. It sounds the same as B♭maj7 (Bb, D, F and A), the usual name in flat keys.

You know the hotel-lobby pianist, playing so nobody leaves? This is their chord. A#maj7 is your regular A# with the window open — same house, more air. Give the audio below a listen and notice how it asks you to stay.

Hear A#maj7 before you play

Why A#maj7 sounds this way

Here's the curious part: A, the new note, lives a half step from A# — that close, it should grind. And it does. But D and F hold the room, so the grind turns into shimmer instead of a fight. Now listen to the arpeggio, one note at a time all the way to the last note and wait: you'll feel the spark without the fire. It's danger with a seatbelt on — which is why it sounds expensive.

How to play A#maj7 on cavaquinho

On the cavaquinho, four steel strings tuned D–G–B–D pack the chord into a small, bright space — every finger counts. So go with the first position below; it's the main shape — that's why it carries the ⭐. Then do the before-and-after: A#, then A#maj7. The second is the first one after sunset. Run it a few times: this chord tends to feel odd on the first pass and addictive by the third.

Precision Tuner: Get in tune before you play: chromatic tuner and reference tones, free in standard tuning · use it in Chord and Fret

Higher up the neck this chord becomes comping carpet — the kind of sound that flatters any voice on top. Positions are right below.

A#maj7 notes and degrees

A#maj7 stacks the root A#, the major third C##, the perfect fifth E# and the major seventh G##.

Where A#maj7 shows up

Across keys, A#maj7 works as Imaj7 in A# major — almost always the deluxe I or the elegant IV. Bossa nova made it a signature and the world copied it; today you hear this chord from jazz to indie pop without it asking permission.

Transpose & Capo: Need it in another key? Transpose the progression for free; finding the best capo is part of Pro · see it in Chord and Fret

Identify Chord: Found a shape on your fretboard? Mark it on the screen and the app names the chord, 5 times a day for free · open in Chord and Fret

Where A#maj7 usually goes

Treating A#maj7 as the home chord (I) of its key, it usually moves toward the pre-dominant (Cm / Eb) or the dominant (F / A°), and the dominant pulls back home. Typically, not a rule.

Going beyond A#maj7

For improvising, A# Ionian (A# B# C## D# E# F## G## · 1 2 3 4 5 6 7: the plain major scale, where everything starts); A# Lydian (A# B# C## D## E# F## G## · 1 2 3 #4 5 6 7: the major scale with a raised fourth — one extra step of daydream); A# Lydian ♯2 (A# B## C## D## E# F## G## · 1 #2 3 #4 5 6 7: a lydian with a raised second, harmonic-major color) wrap the whole chord. And the jazz shapes at the end are the same four notes spread across the neck, for the day you want to sound like an arranger.

Scale: The scale's positions across the neck, with degree, note and finger labels, free; playing the scale and the tempo-ramp exercise are part of Pro · try it in Chord and Fret

Scales to improvise over A#maj7

To improvise over A#maj7 as home, the A# Ionian scale fits entirely: it contains every note of the chord. The best fit depends on the key, the surrounding chords and the tensions you want. And when the dominant (F) pulls back, the leading tone A is the note that wants to resolve home.

Swaps that work:

• Gm7Gm7Gm7Gm7 — Relative minor (vi) — same tonic function
• Dm7Dm7Dm7Dm7 — Mediant (iii) — tonic function

Reharmonize: Want richer substitutions? Reharmonize's Subtle and Medium levels are free; Bold and Jazz are part of Pro · try it in Chord and Fret

And when the song wants solid ground again, the way back is short: plain A#. Drop the seventh, close the window — the house is still there.

Updated October 20, 2026