{"id":13078,"date":"2016-03-26T00:00:00","date_gmt":"2016-03-26T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=13078"},"modified":"2024-10-08T04:34:56","modified_gmt":"2024-10-08T12:34:56","slug":"depth-study-dominant-seventh-chord","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/depth-study-dominant-seventh-chord\/","title":{"rendered":"An In-Depth Study On The Dominant Seventh Chord"},"content":{"rendered":"

Today, we’ll be doing an in-depth study on the dominant seventh chord.<\/p>\n

We’ll be covering some other things like its relationship with the leading note, tritone, and its resolution. These things are easier than they sound – I can guarantee you that.<\/p>\n

Join me in the next segment as I give you a simple yet elaborate definition of the dominant seventh<\/a> chord that will get us started.<\/p>\n

“What Is A Dominant Seventh Chord?”<\/em><\/h2>\n

The term dominant seventh chord<\/em> can be broken down into three components – chord, dominant, and seventh. Check out the breakdown of the dominant seventh chord:<\/p>\n

Chord:<\/strong> A chord<\/span> is a collection of three or more related notes [whether pleasant or unpleasant.]<\/p>\n

Dominant: <\/strong>The technical name for the fifth degree of the major scale is known as the dominant<\/span>.<\/p>\n

Seventh:<\/strong> The distance between seven degrees of the [major or minor] scale is known as a seventh<\/span>. <\/strong><\/p><\/blockquote>\n

I know there are more sophisticated definitions of the dominant seventh chord, however, here’s a simple one you can go with:<\/p>\n

The dominant seventh chord is a collection of related notes [chord<\/strong>] that is built on the fifth degree of the major scale[dominant<\/strong>] which encompasses seven degrees of the scale [seventh<\/strong>].<\/p><\/blockquote>\n

Let’s expand these definitions more.<\/p>\n

“…Related Notes…”<\/em><\/h3>\n

The first thing you need to know about the dominant seventh chord is that it is a collection of related notes<\/span>. The relationship we’re talking about here exists between notes that are thirds apart from each other.<\/p>\n

A third is the distance between three successive degrees of the scale. C to E:
\n
\n…is an example. It encompasses three degrees – C, D, and E:
\n
\nThis relationship between notes in thirds is called the tertian harmony<\/a> and it is not peculiar to the dominant seventh chord. According to Jermaine Griggs (2015), “90% of all chords you play are tertian chords.<\/em>“[1<\/a>]<\/p>\n

“…On the Fifth Degree…”<\/em><\/h3>\n

The dominant seventh chord is built on the fifth degree of the major scale. In the C major scale:
\n
\n…the fifth tone (aka -“the dominant”) is G:
\n
\nUsing the relationship of notes in tertian harmony, we can build the dominant seventh chord from the fifth tone of the C major scale, which is G.<\/p>\n

Due to the fact that the dominant seventh chord can also be formed on the fifth degree of the major scale, its root is usually considered to be a fifth degree.<\/p>\n

For example, to form the B dominant seventh chord, you’ll have to consider the B as the fifth degree of a given major scale.<\/p>\n

So, “In what major scale is B the fifth tone?”<\/em><\/p>\n

The answer is E.<\/p>\n

In the E major scale:
\n
\n…B is the fifth tone.<\/p>\n

If you’re interested in a tool that can help you understand dominant relationships, here you are:<\/p>\n

\"circleoffiths1\"<\/p>\n

You can hardly talk about strong chord progressions without making reference to this circle above. In the 4 o’clock and 5 o’clock positions are E and B respectively.<\/p>\n

If B is the fifth degree of the E major scale, then you can derive the parent scale of any other dominant seventh chord by going to an adjacent sector of this circle in a counter clock-wise direction.<\/p>\n

We can do this for any other dominant seventh chord.<\/p>\n

Given the D dominant seventh chord:
\n
\n…determining its parent scale is as easy as spotting D on the chat – which is at the 2 o’clock position, then going counter clock-wise by a sector to G.<\/p>\n

So, the parent scale of the D dominant chord is the G major scale.<\/p>\n

“…Which Encompasses Seven…”<\/em><\/h3>\n

Now that you know about the relationship in thirds and where the dominant seventh chord is built off, let’s put it together.<\/p>\n

Using the C major scale:
\n
\n…as the parent scale, we can form the G dominant seventh chord by starting on G:
\n
\n…and adding other chord tones in thirds until a seventh is encompassed.<\/p>\n

A third from G is B:
\n
\n…a third above G-B:
\n
\n…is D:
\n
\nPut together, we have G, B, and D:
\n
\n…which encompasses five scale degrees – G to D:
\n
\nA third above G, B, and D is F:
\n
\n…if we add F to G, B, and D, this would produce G, B, D, F:
\n
\n…a dominant chord that encompasses seven scale degrees – from G to F:
\n
\nWow! What an amazing breakdown we’ve done here. Let’s proceed to its relationship with the leading note and leading note triad.<\/p>\n

Great job!<\/p>\n

Relationship With The Leading Note<\/h2>\n

The same way the fifth degree of the scale is associated with the term ‘dominant’, the seventh degree is known as the subtonic or leading note (when it is a half step below the first tone of the scale.)<\/p>\n

Attention:<\/strong> The leading note so called because of its tendency to lead <\/em>us to the first tone of the scale. It has a sense of attraction towards the first degree of the scale (aka – “the tonic”.)<\/p>\n

In the key of C major:
\n
\n…the seventh tone (aka – “leading tone”) is B:
\n
\n…and its triad is also known as the leading note triad.<\/p>\n

Using the underlying principles of chord formation I broke down to you in the previous segment, here’s the leading note triad – the B diminished triad:
\n
\nThe leading note triad is formed by stacking notes in thirds…<\/p>\n

B to D:
\n
\n…and D to F:
\n
\nThe Dominant seventh chord has a relationship with the leading note and its triad. The leading note triad is the upper part of the dominant seventh chord. Here’s what I mean…<\/p>\n

The B diminished triad:
\n
\n…is the upper part of the G dominant seventh chord:
\n
\nBasically, if you take the root of the G dominant seventh chord away, you’ll be left with the B diminished triad:
\n
\n…the leading note triad.<\/p>\n

Before now, I’ve always promised to explain why the chord of the seventh degree is not used and this is because of its relationship with the dominant seventh chord – chord 5.<\/p>\n

We’ll be talking more about this in a future post, but all I can say now is that the dominant seventh chord is the harmonic substitute of the leading note triad.<\/p>\n

It has the elements of the leading note triad and that’s why it’s the strongest chord quality that takes us to chord 1.<\/p>\n

Relationship With The Tritone<\/h2>\n

The diminished triad (aka – “leading note triad) if broken into intervals, will produce two intervallic components, the minor third and the diminished fifth.<\/p>\n

The B diminished triad can be broken down into…<\/p>\n

B-D:
\n
\n…a minor third.<\/p>\n

B-F:
\n
\n…a diminished fifth.<\/p>\n

The diminished interval popularly known as the tritone is one of the harshest intervals in music. This interval is associated with tension and instability.<\/p>\n

Chords that contain the tritone have a degree of instability and tension and tend to resolve. This explains why the leading note triad has the tendency to resolve to the tonic triad (aka – “chord 1”)<\/p>\n

Attention:<\/strong> Considering that the leading note triad is part of the dominant seventh chord, the tritonic attributes of the leading note triad still applies to the dominant seventh chord.<\/p>\n

The G dominant seventh chord contains the tritone and this is its essential intervallic component that makes it sound unstable.<\/p>\n

The tritone is formed by the relationship between the third and seventh tones (aka – “skeleton”) of the dominant seventh chord.<\/p>\n

In the C dominant seventh chord:<\/p>\n

C is the root<\/p>\n

E is the third<\/p>\n

G is the fifth<\/p>\n

Bb is the seventh<\/p><\/blockquote>\n

The third and seventh tones – E and Bb:
\n
\n…are a diminished fifth<\/a> (or tritone) apart.<\/p>\n

Resolution Of The Dominant Seventh Chord<\/h2>\n

The dominant seventh chord is not like major and minor chords that are stable and pleasant – No! Dominant seventh chords (which are basically chords of the fifth degree) resolve to the tonic chord (chord of the first degree.)<\/p>\n

The dominant chord resolves down a fifth to the tonic chord of its parent scale.<\/p>\n

If the B dominant seventh chord:
\n
\n…is the dominant chord of the E major scale (like we covered in the previous segment), that means that the B dominant seventh would resolves to the E major triad:
\n<\/p>\n

Here’s the cycle of fourths\/fifths:
\n\"circleoffiths1\"
\nTake Note…<\/strong><\/p>\n

During the resolution of the dominant seventh chord, there are two chord tones you should watch out for – third and seventh tones.<\/p>\n

Here are the third and seventh chord tones of the G dominant seventh chord:
\n
\n…B and F.<\/p>\n

B is the seventh tone (aka – “leading note”) of the C major scale. It resolves by rising to the first tone of the C major scale – C, while F resolves by falling to the third tone of the C major scale – E.<\/p>\n

The leading note (B):
\n
\n…rises to the tonic (C):
\n
\n…while the fourth tone (F):
\n
\n…falls to the third tone (E):
\n<\/p>\n

Final Words<\/h2>\n

Using two or more chords to play one chord produces a polychord.<\/p>\n

If you choose to break the G dominant seventh chord into two triads, you can have the G major triad:
\n
\n…and the B diminished triad:
\n<\/p>\n

To form a dominant seventh polychord, you’ll need to put these two triads together – a major triad and a diminished triad.<\/p>\n

In the case of the G dominant seventh chord, we can put the G major and B diminished triads together thus:
\n<\/p>\n

We’ll go into this and more in another post. See you then<\/p>\n

Reference<\/h2>\n

Jermaine Griggs (November 2015). “Tertian Chords and the Secret Relationship Between Almost Every Chord”<\/a>. <\/span><\/span><\/cite><\/cite><\/span>HearandPlay Music Learning Center. Retrieved 26th March 2016.<\/p>\n","protected":false},"excerpt":{"rendered":"

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