- ii7B♭m7
- V7E♭7
- Imaj7A♭maj7
E♭7 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The E♭7 chord is a dominant seventh chord built on the root note E♭. Its notes are E♭, G, B♭ and D♭. It's enharmonically the same chord as D♯7.
Dominant seventh chords sound tense and bluesy. The minor seventh on top of a major triad creates a pull toward a resolution, which is why this chord powers the blues and drives cadences in jazz and pop.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
To play E♭7 on piano, place your right hand with your thumb on E♭, index finger on G, middle finger on B♭ and little finger on D♭. Press the keys together and listen for an even sound. On the keyboard E♭, B♭ and D♭ are black keys and G is white. The thumb starts on a black key, so slide the whole hand a little further in, towards the fallboard. Practice moving in and out of the chord slowly, then bring in a metronome.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
On guitar, E♭7 is commonly played with the voicing shown above. This one is a barre at fret 6: keep the index finger flat across the strings and curve the others so they don't mute the strings next to them. Don't play string 6.
E♭ · G · B♭ · D♭
Try E♭7 on the virtual piano
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Also known as D♯7
| Degree | Interval | Semitones | Note | Hear |
|---|---|---|---|---|
| 1 | Root | 0 | E♭(Eb) | |
| 3 | Major third | 4 | G | |
| 5 | Perfect fifth | 7 | B♭(Bb) | |
| ♭7 | Minor seventh | 10 | D♭(Db) |
The E♭7 chord is built from a root, a major third, a perfect fifth and a minor seventh. Start at the root E♭ and stack the intervals to get the whole chord: E♭, G, B♭ and D♭. The same formula gives you the chord in any other key.
Blues, jazz, funk and rock'n'roll all run on dominant seventh chords. They typically act as the V7 resolving back to the tonic, or carry a twelve-bar blues from end to end.
In major keys E♭7 is the V7 in A♭ major; in minor keys it's the VII7 in F minor and the V7 in A♭ minor. As the V7 of A♭ minor it takes its third, G, from the harmonic minor scale: the key's seventh degree, raised a half step.
E♭7 and E♭maj7 look alike on paper and sound opposite: the seventh of E♭7 is a whole step below the octave, the seventh of E♭maj7 only a half step. That minor seventh forms a tritone with the major third, the interval that makes E♭7 want to move on. E♭maj7 has no tritone, so it can rest.
A dominant chord wants to resolve. Its home is the V of a major key - and the I of a blues, where the pull never lets up.
E♭7 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The twelve-bar shape boiled down. The tonic is itself a dominant seventh, which is what makes it a blues.
The turnaround at the end of a chorus: E♭7 is the chord that sends it round again.
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