Minor major seventh chord

This half step creates a pull (leading tone) to the tonic that is useful in harmonic context and is not present in the natural minor scale.

"[2] An example would be the chord that concludes the first movement of Alban Berg's Violin Concerto without resolving as Bach did, creating "an inconclusive final cadence" with "no decisive connotation of tonal closure".

[4] Another notable use is in the fourth movement of Samuel Barber's Piano Sonata; the subject of the fugue begins with a minor major seventh chord presented as an arpeggio.

[7] See also Benessa's dissertation for how this tension was used by the Moors during the Spanish Renaissance period to capture a surprisingly wide spectrum of emotions in their musical works.

"[9] Examples occur in Lesley Gore's "It's My Party" (see also augmented triad), the Chiffons' "One Fine Day", The Beatles's "Something", Mariah Carey's "Vision Of Love", Pink Floyd's "Us and Them", Toni Braxton's "I Don't Want To", Radiohead's "Life in a Glasshouse", The Cure's "In Your House" (1:12), Depeche Mode's "Jezebel", and Magdalena Bay's "Hysterical Us"[citation needed].