Gmaj7 · Ukulele

An empty café at ten in the morning, somebody drying cups, quiet music nobody chose but everybody approves of. That music is full of chords like Gmaj7. Give the audio below a listen.

Listen first

What you just heard

Here's the curious part: F#, the new note, lives a half step from G — that close, it should grind. And it does. But B and D hold the room, so the grind turns into shimmer instead of a fight. Play the arpeggio again, no rush 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.

Now it's your hands' turn

On the ukulele, the high reentrant G makes every shape light — and with four strings, every note is exposed. So go with the first position below — 1 open string as a bonus; it's also the easiest one to play. Then do the before-and-after: G, then Gmaj7. 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 — Before you play these shapes, get in tune — chromatic tuner and reference tones · see it in Chord & Fret

The mid-neck positions are the favorites of anyone backing a singer: up there, a maj7 turns into carpet. File that away for the day you play with someone.

What is Gmaj7?

Gmaj7: G Major with Major Seventh. The notes are G, B, D, F# (fixed-do: Sol, Si, Re, Fa#) — the degrees 1–3–5–7.

Where this chord lives

Across keys, Gmaj7 works as IVmaj7 in D major, IIImaj7 in E minor, Imaj7 in G 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? Move the whole chart and find the easiest capo · try it in Chord & Fret

Identify Chord — Found a shape on your own fretboard? The app names it back · open in Chord & Fret

Where it tends to go

Treating Gmaj7 as the home chord (I) of its key, it usually moves toward the pre-dominant (Am / C) or the dominant (D / F#°) — and the dominant pulls back home. It's a tendency, not a law.

When you want to go further

For improvising, G Ionian (G A B C D E F# · 1 2 3 4 5 6 7: the plain major scale, where everything starts); G Lydian (G A B C# D E F# · 1 2 3 #4 5 6 7: the major scale with a raised fourth — one extra step of daydream); G Lydian ♯2 (G A# B C# D E F# · 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.

Improvising in context

To improvise over Gmaj7 as home, the G Ionian scale covers it whole — it contains every note of the chord. And when the dominant (D) pulls back, the leading tone F# is the note that wants to resolve home.

Swaps that work:

• Em7 — Relative minor (vi) — same tonic function
• Bm7 — Mediant (iii) — tonic function

Reharmonize — Want richer substitutions? Reharmonize the progression in a tap · use it in Chord & Fret

The same chord, dressed for jazz

Jazz Lab — Drop 2, drop 3 and shell in any key — the Jazz Lab opens them all · see it in Chord & Fret

If at some point you want the ground back, it's one click away: G without the seventh. The house hasn't moved.

Every shape of Gmaj7 lives in Chord & Fret Pro — 4 instruments, 16 tunings, 41 chord types and 57 scales, in every key. Start free. Unlock everything with Pro. 100% offline. Made by musicians, no ads.

Updated July 9, 2026