{"id":13610,"date":"2016-05-14T10:00:00","date_gmt":"2016-05-14T18:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=13610"},"modified":"2024-10-07T18:39:00","modified_gmt":"2024-10-08T02:39:00","slug":"dominant-chord-fifth-degree","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/dominant-chord-fifth-degree\/","title":{"rendered":"A Breakdown Of The Dominant Chord"},"content":{"rendered":"<p>Today we will doing a study on the dominant chord.<\/p>\n<p>The dominant chord is one of the best things that happened to harmony in music. In the past 500 years, music has been based on the dominant-tonic relationship and <a href=\"https:\/\/www.hearandplay.com\/main\/two-tonalities\">tonality<\/a>. Tonality cannot be established without the dominant-tonic relationship.<\/p>\n<p>I\u00a0won&#8217;t\u00a0go into the history of tonality in this lesson because we have a lot to learn in this post. So, permit me to give you an overview on the concept of tonality.<\/p>\n<h2>An Overview On The Concept Of Tonality<\/h2>\n<p>The concept of &#8220;key&#8221; replaces the <em>neutrality<\/em> of having twelve tones:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,Cs,D,Ds,E,F,Fs,G,Gs,A,As,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;with the concept of tonality, which is the establishment of a particular tone as the principal tone\u00a0(aka &#8211; &#8220;tonic&#8221;) and having other notes revolving around it. The tonality is a <em>key environment <\/em>where there&#8217;s an attraction towards the tonic (more on this later).<\/p>\n<p>Making E:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;the tonal center [or the key center] means that E is the the principal tone (aka &#8211; &#8220;tonic&#8221;) and other tones are revolving around it.<\/p>\n<p>There are <a href=\"https:\/\/www.hearandplay.com\/main\/two-tonalities\">two distinct tonalities<\/a> in music &#8211; the <em>major<\/em> key and the <em>minor<\/em> key and irrespective of the tonality, there must be a strong connection between the dominant and the tonic (aka &#8211; &#8220;<em>tonic-dominant<\/em> relationship&#8221;.)<\/p>\n<p>At this point, defining the terms <em>tonic <\/em>and <em>dominant <\/em>is\u00a0necessary.<\/p>\n<p><strong>The tonic<\/strong> is the scale degree name (aka &#8211; &#8220;technical name&#8221;) of the <strong>first tone<\/strong> in a major or minor key.<\/p>\n<p><strong>The dominant<\/strong> is the scale degree name (aka &#8211; &#8220;technical name&#8221;) of the <strong>fifth tone<\/strong> in a major or minor key.<\/p>\n<p>Tonality is established by the strong attraction between the fifth and first tones in any key &#8211; whether <em>major<\/em> or <em>minor<\/em>. Now that you&#8217;re familiar with the tonic as the principal tone of the tonality, let&#8217;s talk about the dominant.<\/p>\n<h2>The Dominant<\/h2>\n<p>The<strong> dominant<\/strong> is the fifth degree of the major or minor scale and has the strongest pull in music towards the first degree (aka &#8211; &#8220;tonic&#8221;).<\/p>\n<p>The tonic chord establishes a stable environment while the dominant chord creates an attraction to it. Chords built on the dominant have a level of activity or tendency that resolves to a chord of the tonic.<\/p>\n<p>For instance, the fifth degree in the key of C major:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is G:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\nConsequently, chords that are formed on G:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;(which is the fifth degree of the C major scale), are known as dominant chords.<\/p>\n<p>They are referred to as dominant chords because there are various classes of chords that can be formed on the dominant, ranging from triads, like G major:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to seventh chords &#8211; the G dominant seventh chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D,F&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to ninth chords &#8211; the G dominant ninth chord:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D,F,A&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;and other extended chords. The term <em>dominant chord<\/em>\u00a0 is a generic term that refers to all chords that are formed on the fifth degree in any key you&#8217;re in [whether major or minor].<\/p>\n<p>However, we&#8217;ll be limiting our scope to the dominant triad. To learn more about the extended dominant chord, check out this post on <a href=\"https:\/\/www.hearandplay.com\/main\/the-harmonic-value-of-the-dominant-ninth-chord\">the harmonic value of the dominant ninth chord<\/a>.<\/p>\n<p>In the next segment, I&#8217;ll be showing you the harmonic constituents of the dominant triad that makes it vital.<\/p>\n<h2>The Harmonic Constituents Of The Dominant Triad<\/h2>\n<p>The dominant triad is a major triad, however, it&#8217;s called a dominant triad because it is built on the fifth degree of the scale (aka &#8211; &#8220;the dominant&#8221;). Although it&#8217;s a major chord structurally, it is <em>functionally<\/em> a dominant triad because it&#8217;s rooted on the fifth degree of the scale.<\/p>\n<p>The G major triad:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;in the key of C:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is a dominant triad.<\/p>\n<p>Take note that the dominant triad consists of the fifth, seventh, and the second tones of the major scale. In the case of the G major triad:<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D&amp;color=FF9933&amp;size=2\" border=\"0\" \/><\/p>\n<p>&#8230;which is the dominant triad in the key of C, its tones &#8211; G, B, and D:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;are the fifth:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;seventh:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;and second:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,D&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;tones of the C major scale:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><\/p>\n<p><em>&#8220;Let&#8217;s take a closer look at these tones&#8230;&#8221;<\/em><\/p>\n<h4>The Fifth Tone<\/h4>\n<p>The fifth tone of the scale is technically known as the dominant. Its attraction towards the tonic has been proven scientifically, acoustically, and musically.<\/p>\n<p>Remember that we established earlier that it is the relationship between the dominant and the tonic that reinforces tonality.<\/p>\n<h4>The Seventh Tone<\/h4>\n<p>The leading note is the next. The leading note has a high affinity for the tonic.<\/p>\n<p>When you are playing the C major scale:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;in ascending fashion, and you stop on the seventh tone (B):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;you&#8217;ll notice a sort of unrest or a tendency to move on to the eighth tone (C):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;and that is why the major scale is played with the eighth note, because the leading note has a strong tendency to resolve to the tonic &#8211; which is a half step above it, whether in the major or in the minor key.<\/p>\n<h4>The Second Tone<\/h4>\n<p>The last tone of the dominant triad is second tone of the major scale. While playing the C major scale:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;in a descending fashion, the second tone (D):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,D,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;has the tendency to resolve to the first tone of the scale (C):<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;the same way the leading tone resolves to the eighth degree (aka &#8211; &#8220;the octave&#8221;).<\/p>\n<p>In a nutshell, nothing can be more satisfying like resolving the second tone of the scale downward to the first tone of the scale.<\/p>\n<p>So, the G dominant triad contains the fifth, seventh, and second tones:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,B,D&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;of the C major scale:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;which resolve to the tonic triad:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,G,C,E&amp;color=FF9933&amp;size=2\" border=\"0\" \/><\/p>\n<p>Feel free to expand the dominant triad to a seventh, ninth, eleventh, and thirteenth. Kindly check out this post on the <a href=\"https:\/\/www.hearandplay.com\/main\/dominant-seventh-chord\">dominant seventh chord<\/a> and <a href=\"https:\/\/www.hearandplay.com\/main\/extending-dominant-seventh-chord-part-1\">how to expand the dominant seventh chord<\/a>.<\/p>\n<h2>Final Words<\/h2>\n<p>This is the much we can cover today on the dominant triad, but before we <em>call it a day<\/em>, let&#8217;s take a look at the function of the dominant chord.<\/p>\n<p>The dominant chord functions as the strongest [and mostly preferred] harmonic force that pulls you to the tonic. But beyond that, it can be used in <a href=\"https:\/\/en.wikipedia.org\/wiki\/Tonicization\" target=\"_blank\" rel=\"noopener\">tonicization<\/a>.<\/p>\n<p>Tonicization is the contradiction of a key (aka &#8211; &#8220;<a href=\"https:\/\/www.hearandplay.com\/main\/two-tonalities\">tonality<\/a>&#8220;) and the establishment of a new key temporarily.<\/p>\n<p>Here&#8217;s how it works&#8230;<\/p>\n<p>While in the key of C Major:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;we can contradict the key of C major and establish the key of E minor:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,Fs,G,A,B,C,D,E&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;temporarily.<\/p>\n<p>To achieve this, we&#8217;ll need to <em>prepare the ground<\/em> for the <a href=\"https:\/\/www.hearandplay.com\/main\/the-tonic-chord\">tonic triad<\/a> in the key of E minor. Preparing the ground here means playing a chord that will contradict the key of C major:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;and establish the key of E minor:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,Fs,G,A,B,C,D,E&amp;color=FF9933&amp;size=2\" border=\"0\" \/><\/p>\n<p>Taking advantage of the <em>dominant-tonic<\/em> relationship that reinforces tonality, we can go ahead to prepare the grounds for the E minor triad:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,G,B,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;the tonic triad in the key of E minor:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,Fs,G,A,B,C,D,E&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;with its dominant.<\/p>\n<p>Considering that the dominant (aka &#8211; &#8220;the fifth tone&#8221;) of the E [<a href=\"https:\/\/www.hearandplay.com\/main\/the-harmonic-minor-scale\">harmonic<\/a>] minor scale:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,E,Fs,G,A,B,C,Ds,E&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;is B, we can use the B major triad:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,B,Ds,Fs&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;to tonicize E minor.<\/p>\n<p>The B major triad:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=B,Ds,Fs,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;contains D# and F#:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,Ds,Fs,&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;which are foreign to the key of C major:<br \/>\n<img decoding=\"async\" src=\"https:\/\/hearandplay.cc\/dynamic_image\/pianokeys.php?notes=,,C,D,E,F,G,A,B,C&amp;color=FF9933&amp;size=2\" border=\"0\" \/><br \/>\n&#8230;and that&#8217;s the idea &#8211; playing something that contradicts the key of C major and establishes the key of E minor. We&#8217;ll talk more on tonicization in subsequent posts.<\/p>\n<p>The concept of secondary dominant chords is another powerful application of dominant chords in harmony that features the use of dominant chords as <a href=\"https:\/\/www.hearandplay.com\/main\/scale-degree-chords-vs-passing-chords\">passing chords to scale degree chords<\/a>.<\/p>\n<p>Suggested reading: <a href=\"https:\/\/www.hearandplay.com\/main\/secondary-dominant-chords\">Introduction To Secondary Dominant Chords<\/a>.<\/p>\n<p>I appreciate you for the time invested in reading this post. See you next time!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this lesson, we&#8217;re covering dominant chords &#8211; formation, structure, function, and more.<\/p>\n","protected":false},"author":9,"featured_media":22854,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,9],"tags":[17,230,1924,798],"class_list":["post-13610","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chords-progressions","category-piano","tag-basic-songs","tag-dominant","tag-dominant-chord-qualities","tag-dominant-chords","post-wrapper","thrv_wrapper"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>A Breakdown Of The Dominant Chord - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"In this lesson, we&#039;re covering dominant chords - formation, 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