Dominant seventh chord


In music theory, a dominant seventh chord, or major minor seventh chord, is a seventh chord, usually built on the fifth degree of the major scale, and composed of a root, major third, perfect fifth, and minor seventh. Thus it is a major triad together with a minor seventh, denoted by the letter name of the chord root and a superscript "7". An example is the dominant seventh chord built on G, written as G7, having pitches G–B–D–F:

Dominant seventh chords contain a strong dissonance, a tritone between the chord's third and seventh.
Dominant seventh chords are often built on the fifth scale degree of a key. For instance, in the key of C major, the note G is the fifth of the key, and the seventh chord built on G is the dominant seventh chord, G7. In this chord, F is a minor seventh above G and is also called the dominant seventh with respect to G. In roman numeral analysis, G7 would be represented as V7 in the key of C major.
The dominant seventh is perhaps the most important of the seventh chords. It was the first seventh chord to appear regularly in classical music. The V7 chord is found almost as often as the V, the dominant triad, and typically functions to drive the piece strongly toward a resolution to the tonic of the key.
A dominant seventh chord can be represented by the integer notation relative to the dominant.

History

conceived of harmony in terms of intervals rather than chords, "however, certain dissonant sonorities suggest that the dominant seventh chord occurred with some frequency." Monteverdi and other early Baroque composers begin to treat the V7 as a chord as part of the introduction of functional harmony.
An excerpt from Monteverdi's "Lasciatemi Morire", Lamento d'Arianna is shown below. In it, a dominant seventh chord is handled conservatively, "prepared and resolved as a suspension, clearly indicating its dissonant status."


The V7 was in constant use during the Classical period, with similar treatment to that of the Baroque. In the Romantic period, freer voice-leading was gradually developed, leading to the waning of functional use in the post-Romantic and Impressionistic periods including more dissonant dominant chords through higher extensions and lessened use of the major minor chord's dominant function. Twentieth-century classical music either consciously used functional harmony or was entirely free of V7 chords while jazz and popular musics continued to use functional harmony including V7 chords.
An excerpt from Chopin's Mazurka in F minor, Op. 68, No. 4, mm. 1–4 is shown below with dominant sevenths in red: "the seventh factor had by this time achieved nearly consonant status."

Use

Inversions

The opening bars of Mozart’s Piano Sonata in C, K545 features dominant seventh chords in both second and first inversions:The concluding cadence of the same movement features the chord in root position:A striking use of inversions of the dominant seventh can be found in this passage from the first movement of Beethoven’s String Quartet Op. 127. Here, the second and third inversions contribute to the "magnificently rich harmony" :

Function

The function of the dominant seventh chord is to resolve to the tonic note or chord.
This dominant seventh chord is useful to composers because it contains both a major triad and the interval of a tritone. The major triad confers a very "strong" sound. The tritone is created by the co-occurrence of the third degree and seventh degree.
In a diatonic context, the third of the chord is the leading-tone of the scale, which has a strong tendency to pull towards the tonic of the key. The seventh of the chord acts as an upper leading-tone to the third of the scale. This, in combination with the strength of root movement by fifth, and the natural resolution of the dominant triad to the tonic triad, creates a resolution with which to end a piece or a section, often in a cadence.
\new PianoStaff <<
\new Staff <<
\relative c'
>>
\new Staff <<
\new Voice \relative c'
>>
>>

Because of this original usage, it also quickly became an easy way to trick the listener's ear with a deceptive cadence. The dominant seventh may work as part of a circle progression, preceded by the supertonic chord, ii.
Importantly, non-diatonic dominant seventh chords, borrowed from another key, can allow the composer to modulate to that other key. This technique is extremely common, particularly since the Classical period, and has led to further innovative uses of the dominant seventh chord such as secondary dominant, extended dominant, and substitute dominant chords.

Voice leading

For common practice voice leading or "strict resolution" of the dominant seventh chord:
\new PianoStaff <<
\new Staff <<
\relative c'
>>
\new Staff <<
\new Voice \relative c'
>>
>>

\new PianoStaff <<
\new Staff <<
\relative c'
>>
\new Staff <<
\new Voice \relative c'
>>
>>

\new Staff <<
\new Voice \relative c
\new Voice \relative c
>>

According to Heinrich Schenker, "The dissonance is always passing, never a chord member,'" and often the voice leading suggests either a passing note:
or resolution of a suspension:

In blues progressions

In rock and popular music songs following the blues progression, the IV and V chords are "almost always" dominant seventh chords with the tonic chord most often being a major triad. Examples include Bill Haley and the Comets' "Rock Around the Clock" and Buster Brown's "Fanny Mae", while in Chuck Berry's "Back in the U.S.A." and Loggins and Messina's "Your Mama Don't Dance" the tonic chord is also a dominant seventh. Used mostly in the first fifteen years of the rock era and now sounding somewhat "retrospective", other examples of tonic dominant seventh chords include Little Richard's "Lucille", The Beatles' "I Saw Her Standing There", Nilsson's "Coconut", Jim Croce's "You Don't Mess Around With Jim", and The Drifters' "On Broadway". Chuck Berry's "Rock and Roll Music" uses the dominant seventh on I, IV, and V.

Related chords

The dominant seventh is enharmonically equivalent to the German sixth. For example, the German sixth A–C–E–F is equivalent to the dominant seventh A–C–E–G :


lower than B.
The dominant seventh chord is frequently used to approximate a harmonic seventh chord, which is one possible just tuning, in the ratios 4:5:6:7, for the dominant seventh. Others include 20:25:30:36, found on I, and 36:45:54:64, found on V, used in 5-limit just tunings and scales.
Today, the dominant seventh chord enjoys particular prominence in the music of barbershop quartets, with the Barbershop Harmony Society describing the chord as, "signature," of the barbershop sound, a song may use the chord type for up to 30 percent of its duration. As barbershop singers strive to harmonize in just intonation to maximize the audibility of harmonic overtones, the practical sonority of the chord tends to be that of a harmonic seventh chord. This chord type has become so ingrained into the fabric of the artform that it is often referred to as the "barbershop seventh chord" by those who practice it.

Tuning

Dominant seventh chord table

Guitar chord diagrams

In standard tuning, the left is the low E string. x means mute the string.
Dominant 7
Dominant 7 Sus2
Dominant 7 Sus4