Lots of overlap here with sus2 chords and easy to confuse the two sonically without resolution back to a major or minor. I personally overuse the two barre forms and don’t think enough about grabbing the odd suspended triad.
I can’t tell you I have a favorite sus2 form beyond the full barre with a 5th-string root, but working these out suggested some nice alternatives to work into progressions. In fairness, they are all triads, but I labeled the easy to grab three-note shapes as triads here.
Dominant 7’s cover the last remaining core 4-note chord in the arsenal. I struggle to employ them effectively in composition as well, but this one is clearly on me. Dominant chords are the heart of the blues and jazz and are no strangers to rock.
Unlike Maj7 chords, I end up using the minor 7th all the time. Social distancing seemed like a great time to start mapping out a chord vocabulary, so here come all of the minor 7th chords I frequently use.
I find Maj7 chords to be more difficult to use than triads or min7 chords, and I don’t seem to be entirely alone. Finding rock songs that feature the Maj7 wasn’t as easy as I expected. Here’s what I found: U2 One, Led Zeppelin The Rain Song, Paul McCartney Band on the Run, Peter Frampton Show me the Way, and John Lennon’s Imagine. In jazz, I’m pretty confident this would be a lot easier, and I’d also guess that if I’d scoured the Steely Dan catalog, I’d have come up with more good examples.
Easily placed or not, it’s a good place to start when it comes to cataloging voicings being the 4-note form of the first degree of the major scale. Below are all the voicings I find most useful for a Maj7.