Minor triad with added fourth (1–♭3–4–5); sus-adjacent color without a seventh in the symbol.
Intervals from the root that spell this chord and its chord tones.
Scales that contain this chord’s notes and usually fit over it.
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The minor add4 chord adds a perfect fourth to a minor triad: 1-♭3-4-5. Its identity comes from the coexistence of minor third and fourth, which creates a close, expressive friction. It can feel like a suspended color leaning back toward minor, making it useful when you want minor harmony with added modal openness.
Start with a minor triad and add scale degree 4. In Cm(add4), a typical set is C-E♭-F-G. Because ♭3 and 4 are adjacent, spacing decisions strongly affect whether the chord sounds lyrical or harsh.
The color is intimate, slightly tense, and modal. Compared with plain minor, it sounds less final; compared with sus chords, it keeps clearer minor identity.
Common in modern songwriting, indie/folk-influenced harmony, jazz reharmonization, and cinematic textures where minor harmony should remain open rather than fully resolved.
Use open voicings, separate ♭3 and 4 by register, and omit 5 if density builds up. On piano and guitar, octave displacement often makes the chord speak more clearly.
Minor(add4) often acts as a local color variant of i or iv rather than a strict functional chord class. Releasing 4 to ♭3, or keeping 4 as melodic tension above minor support, creates expressive motion.
Listen for a minor core with a nearby fourth rub. Compare minor triad versus minor(add4) to lock in the extra modal tension.
| Interval | semitones | Note | ||
|---|---|---|---|---|
| 0 | E♭ | |||
| 3 | G♭ | |||
| 5 | A♭ | |||
| 7 | B♭ |