A#maj7 Chord on Ukulele
A#maj7 = A# – D – F – A (Root, Major 3rd, Perfect 5th, Major 7th)
Look for the major seventh that Bbmaj7 adds to the plain triad — the note A — and it turns out the open A string is already playing it, no extra finger required. What actually needs fretting shrinks as a result: the index finger takes the E string's first fret, and a two-string barre with the middle and ring fingers covers the G and C strings at the second fret, leaving the A string to ring untouched underneath.
A major seventh interval sitting a half-step under the octave root doesn't quite let a chord feel finished, and that's the appeal — Bbmaj7 glows rather than resolves. It steps in as the I chord of Bb major whenever a song wants a more sophisticated tonic than a bare triad supplies, and as the IV chord of F major it's the usual choice wherever ballad-style or neo-soul writing wants extra warmth on the subdominant instead of a plain chord. Because that open A string is actually doing harmonic work here rather than just filling out the sound, the chord rings noticeably more resonant than the fully fretted plain Bb triad it's substituting for. Arrangers reaching for this chord over a plain triad are usually signaling that a passage should breathe rather than push forward, which is why Bbmaj7 shows up disproportionately often at the start or the very end of a phrase rather than in the middle of a busy chord run.
Fingerings
Open Position
How to Practice It
Get the two-string barre across the G and C strings at the second fret solid first, then bring in the index finger on the E string's first fret without letting it disturb the barre sitting just above, and finally confirm the open A string rings out clearly rather than getting muted by a stray finger. Since this shape essentially trades one of Bb major's fretted notes for a free-ringing open string, alternating between the plain triad and Bbmaj7 is a good way to feel exactly how that one substitution changes the chord's whole character — listen for the A string's shimmer against the fretted pair beneath it. If the barre feels unstable at first, try fretting the G and C strings with two separate fingers instead of one flattened one, since the two-note barre here is optional rather than strictly required by the shape.
Common Progressions
- Imaj7 – IV, a jazzier tonic in the key of Bb (Bbmaj7 – Eb)
- IVmaj7 in the key of F (F – Bbmaj7 – C)
- Imaj7 – vi – ii – V (Bbmaj7 – Gm – Cm – F7)
- Bbmaj7 substitutes for plain Bb wherever a song wants added shimmer without changing its harmonic function.
FAQ
- Why does Bbmaj7 use an open string when Bb major doesn't?
- The major seventh that defines this chord, A, happens to be exactly what the ukulele's A string already plays open, so the note is free rather than requiring a fourth fretted finger.
- What's the difference in feel between Bbmaj7 and plain Bb major?
- Bb major is fully fretted with a closed, contained sound, while Bbmaj7 rings an open string and adds a shimmering major-seventh color, giving it a more resonant, unresolved glow at rest.
- Where does Bbmaj7 fit in a chord progression?
- As the I chord of Bb major it offers a jazzier tonic than a plain triad, and as the IV chord of F major it's a common substitution wherever a ballad or soul-influenced arrangement wants extra warmth.
- What should a player check first when learning this shape?
- That the two-string barre across the G and C strings at the second fret rings evenly on both strings before adding the index finger, since an uneven barre is the most common source of a dull attack.
- Is there a simpler way to play Bbmaj7 without the barre?
- Yes — fretting the G and C strings with two separate fingers instead of one flattened index or ring finger produces the identical notes, trading the barre's coordination demand for a slightly more spread-out hand position.
- Does Bbmaj7 ever substitute for Bbm7 in a chart, or are the two unrelated?
- They're genuinely different colors, not interchangeable — Bbmaj7 keeps the major third and adds a major seventh for a bright, glowing quality, while Bbm7 lowers the third and softens a minor chord instead, so swapping one for the other changes the chord's basic identity.
A#maj7 on other instruments: A#maj7 on Guitar, A#maj7 on Piano. Related: how chords are built, chord finder.