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Topic: Dominant seventh

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	Seventh chord - Wikipedia, the free encyclopedia
		Called the Dominant Seventh because its intervallic relationships occur naturally in the seventh chord built on the dominant scale degree of a given key, the dominant seventh chord was the first to begin to appear regularly in Western music.
		The dominant seventh chord is useful to composers because it is a major chord with a very strong sound, that also includes a tritone between the third and seventh of the chord.
		While the dominant seventh chord is typically built on the fifth (or dominant) degree of a major scale, the minor seventh chord is built on the second, third, or sixth degree.
	www.wikipedia.org /wiki/Dominant_seventh (773 words)

	Dominant (music) - Wikipedia, the free encyclopedia
		For example, in the C major scale (white keys on a piano), the dominant is the note G; and the dominant chord uses the notes G, B, and D. In music theory, the dominant chord in its root position is symbolized with the Roman numeral V if major and v if minor.
		As defined by Joseph Fétis the dominante was a seventh chord over the first note of a descending perfect fifth in the basse fondamentale or root progression, the common practice period dominant seventh he named the dominante tonique.
		A cadential dominant chord followed by a tonic chord (the chord of the key of the piece) produces an authentic cadence.
	en.wikipedia.org /wiki/Dominant_(music) (259 words)

	Seventh chord
		seventh chord is a chord or triad which has a note the seventh above the tonic in it.
		Augmented seventh chords are extremely rare, as are seventh chords caused by the variable sixth and seventh degrees of a minor scale.
		The dominant seventh chord is useful to composers because of the fact that it is a major chord with a very strong sound, that also includes a tritone between the third and seventh of the chord.
	www.sciencedaily.com /encyclopedia/seventh_chord (639 words)

	The Dominant Seventh and Augmented Sixth Discords
		This chord is spelt 1 - 3 - (5) -
		The resolution of the dominant seventh is frequently extended with the interpolation of a triad in second inversion which is built on the same bass note as the resolution chord.
		It is possible for secondary dominants to resolve to non-diatonic chords, and for the secondary tonality of which this dominant is a diatonic chord to be extended.
	www.andymilne.dial.pipex.com /Discords.shtml (1383 words)

	[No title]
		The third inversion (seventh in bass) consists of a 2nd, a 4th and a 6th and is notated as "2".
		The most important seventh is the dominant seventh: Dominant seventh If we build the seventh on the fifth degree of the scale then we get a dominant seventh chord (that's why this kind of seventh is called dominant) (in C major the G7 : g b d f) and is noted as V7.
		DOMINANT PARALLEL On the third degree of the scale is the parallel minor of the dominant.
	www.roughstock.com /cowpie/resources/TheoryForGuitar.txt (6016 words)

	Augmented sixth - Wikipedia, the free encyclopedia
		The prefix 'augmented' identifies it as being the largest of the three intervals; the others being the major sixth and minor sixth, which are one and two semitones smaller, respectively.
		Its inversion is the diminished third, and its enharmonic equivalent is the minor seventh.
		In its most common and expected resolution, the lower note of the interval moves downwards by a minor second to the dominant while the upper note, being chromatically inflected, is heard as the leading note of the dominant key, rising naturally by a minor second.
	www.wikipedia.org /wiki/Augmented_sixth (515 words)

	music definitions
		Altered dominants - Dominant triads or seventh chords with heightened activity due to chromatic alteration of the fifth.
		Dominant seventh chord - A chord of four tones built in thirds on the fifth scale degree, a major minor seventh chord.
		Dominant seventh chord with lowered fifth - Equivalent to the French sixth chord built on the lowered second scale degree.
	guitarsecrets.com /music_definitions.htm (3370 words)

	Unit06_Dominant_Seventh (Site not responding. Last check: 2007-09-17)
		The dominant seventh chord is the most common of all the seventh chords and is even used more than the plain dominant triad.
		It is a minor seventh in a major key and a diminished minor (half-diminished) seventh in a minor key.
		The seventh of a seventh chord, its note of approach, and its note of resolution comprise a three note figure similar to certain nonharmonic tones: the passing tone, the suspension, the appoggiatura, and the upper neighbor.
	www.jcjc.edu /faculty/finearts/JBrown/MUS1223/Study_Material/Unit06_Dominant_Seventh/Unit06_Dominant_Seventh.html (760 words)

	Chord (Site not responding. Last check: 2007-09-17)
		The five down a perfect fifth to the I chord and the VII chord up a minor second to the I chord, due to the expected resolution of the tritone, or the highly unstable diminished fifth which is present in a diatonic VII chord.
		The II and IV chords have Subdominant Function, partially due to the fact that they are a fifth away from the Dominant chords of a key, and partially because in their own Tonic keys, their respective Dominant chords are built on the root notes of the stable Tonic function I and VI.
		Minor seventh chords are pretty much like dominant seventh chords, except that they have a minor triad instead of a major one.
	www.city-search.org /ch/chord.html (2413 words)

	MO01
		The dominant 7th chord is a four note chord rooted on the dominant tone of the scale.
		The tritone in the dominant 7th chord is F# to C. C is the 7th of the chord so it resolves down to the B. F# is the leading tone which resolves up to the tonic.
		In the dominant 7th chord it is possible to omit the 5th of the chord and to double the root.
	www.odu.edu /al/wbartolo/mod32a.html (646 words)

	Jazz Practice Loops : The ultimate site for practicing jazz solos and standards.
		By raising the seventh degree of the minor scale by a half step (that is, raising the G of A minor to G#), these problems are solved.
		This particular sound, the raised fourth over a dominant seventh chord, was widely used in the bebop era, and earned the early bebop musicians a lot of criticism for their use of such non-traditional sounds.
		The seventh mode of the melodic minor scale is often called the diminished whole tone scale, because it combines elements of the diminished and whole tone scales discussed later.
	jazzpracticeloops.com /materials/minorHarmony.htm (1646 words)

	Dominant chord (Site not responding. Last check: 2007-09-17)
		The chord or triad that is based on the fifth tone of the scale.
		In the key of C, the dominant triad would consist of G, B, and D.
		A dominant seventh chord is a dominant chord with a seventh added; in the key of C, the dominant seventh chord would consist of G, B, D, and F.
	www.music.vt.edu /musicdictionary/textd/Dominantchord.html (58 words)

	Basic Jazz Harmony
		For a C minor seventh chord (C Eb G Bb) the intervals between the root and fifth and the third and seventh are also perfect fifths so it is also a stable chord.
		If you analyze a C dominant seventh chord (C E G Bb) you'll notice that the interval between the third and the seventh is a tritone (flat fifth).
		The Two chord is always a minor seventh, the Five is a dominant seventh and the One is a major seventh chord.
	www.angelfire.com /jazz/beeflat79/Basic.htm (1279 words)

	DOMINANT SEVENTH FLAT FIVE ARPEGGIO: Chapter 8 - Lesson 8 from the book "A CRASH COURSE IN GUITAR THEORY" (Site not responding. Last check: 2007-09-17)
		This is the entire fretboard pattern, for the dominant seventh flat five arpeggio (1, 3, b5, b7).
		A dominant seventh flat five arpeggio is obtainable by using just the 3, b5, and b7.
		In this case, it is an "F" dominant seventh flat five arpeggio (F7b5).
	www.guitarlessons.info /theory/chap8_lesson8.htm (251 words)

	Supertonic - Wikipedia, the free encyclopedia
		For example, in the C major scale (white keys on a piano), the supertonic is the note D; and the supertonic chord uses the notes D, F, and A. In music theory, the supertonic chord is symbolized with the Roman numeral II if major or ii if minor.
		The super tonic is the root of the minor seventh chord and the fifth of the dominant seventh chord.
		In German theory derived from Hugo Riemann the supertonic is considered the subdominant parallel.
	en.wikipedia.org /wiki/Supertonic (173 words)

	Chords
		The major seventh chord is found at the first and fourth degrees of the major (Ionian) scale, and the third and sixth degrees of the minor (Aeolian) scale.
		The dominant seventh chord is found at the fifth degree of the major (Ionian) scale, and the seventh degree of the minor (Aeolian) scale.
		The minor seventh chord is found at the second, third, and sixth degrees of the major (Ionian) scale, and the first, fourth and fifth degrees of the minor (Aeolian) scale.
	www.grovelandsoftwarelabs.com /modeexplorerweb/mxpcatalog/Chords.aspx (884 words)

	Volume 84 Dominant Seventh Workout (Site not responding. Last check: 2007-09-17)
		The Dominant Seventh is possibly the most substituted, colored and altered sound in modern music.
		Its flexibility and distinctive nature made it a favourite of composers throughout the twentieth century and allowed it to dominate Blues and Rock'N'Roll.
		This Workout set will allow you to go through the dominant seventh chords and scales in all twelve keys with a swinging jazz rhythm section.
	www.bassplace.com /PLA049.html (165 words)

	Seventh Chords (Site not responding. Last check: 2007-09-17)
		This chord is called seventh chord because a seventh interval is formed in relation to the root.
		Seventh chords may be built on each of the degrees of major and minor scales.
		Seventh chords may be identified by analyzing the triad and the seventh interval forming the chord.
	www.teoria.com /reference/chords/08.htm (75 words)

	Chris
		In jazz, chords are usually seventh chords, so you add the seventh too, to make a C major seventh, or Cmaj7: c e g b.
		Notice in the key of C there are two major seventh chords, three minor seventh chords, one dominant seventh chord, and one half-diminished chord (min7 with flat 5).
		The G7 is always in the key of C because it’s the dominant seventh in the key of C. So let’s say the Dmin7 is in the key of C too (if it’s not, you’ll know because it won’t sound right, then you can try other keys).
	www-psych.nmsu.edu /~jkroger/jazz/forChris.htm (2064 words)

	Dominant Seventh Chord (Site not responding. Last check: 2007-09-17)
		Progressions including the dominant seventh chord are handled in the same manner as any V chord.
		For dominant seventh chords, include a "7" along with the letter name.
		Example: G7 Numbers for inversions of the dominant seventh chord should be included with the roman numerals.
	www.macromusic.org /tutorials/domseventh.html (106 words)

	101 Things You Can Do With A Diminished Seventh Chord
		on B is equivalent to a third-inversion seventh on D, a second-inversion seventh on F, and to a first-inversion seventh on G# or A-flat.
		In a common-tone resolution of a leading tone seventh, at least one chord tone is held in common with the chord of resolution while the other three notes of the seventh move by step.
		Sometimes a diminished seventh neither functions as a leading tone seventh nor resolves as a common tone seventh.
	www.lsu.edu /faculty/jperry/virtual_textbook/dim_7th.htm (547 words)

	MO01 (Site not responding. Last check: 2007-09-17)
		The scale degrees of the dominant seventh chord are 5 - 7 - 2 - 4 in root position.
		If a dominant seventh is in first inversion, the 3rd of the chord is in the bass.
		When the bass line is ascending (1 - 2 - 3), the second inversion dominant 7th is the only time that the 7th of the dominant 7th does not have to resolve down by step.
	www.odu.edu /al/wbartolo/mod36a.html (436 words)

	110.progression.checklist.html
		An incomplete triad with tripled root and a third or two roots and two thirds, or a dominant seventh with two roots, third and seventh, are possible if those using those alternatives produces smoother (stepwise) voice leading.
		Dominant (V) chord must be major in both major and minor keys; raise the third of the dominant chord (seventh tone of the scale) in minor key (like harmonic minor).
		Move within the dominant chord in the Soprano, keep the root of the chord in the bass, harmonize the soprano with shifts in spacing and doubling of the dominant chord.
	www.sonoma.edu /users/j/johnsonw/music_110/110_progchek.htm (1956 words)

	DOMINANT SEVENTH CHORD: Chapter 7 - Lesson 3 from the book "A CRASH COURSE IN GUITAR THEORY" (Site not responding. Last check: 2007-09-17)
		This is the entire fretboard pattern, for the dominant seventh chord (1, 3, 5, b7).
		A dominant seventh chord is obtainable by using just the 1, 3, b7.
		In this case, it is an "F" dominant seventh chord (F7).
	www.guitarlessons.info /theory/chap7_lesson3.htm (235 words)

	Chapter 7 - Dominant Seventh Chord
		An interval of a tritone appears between the third and seventh (leading tone and subdominant scale degrees) of the dominant seventh chord.
		When the seventh of a dominant seventh chord appears in an upper voice and the chord progresses to a first inversion tonic chord, an Irregular Resolution must occur.
		The seventh of the dominant seventh chord is considered a dissonance and should not be approached by disjunct motion from above.
	www.tpub.com /harmony/14.htm (316 words)

	Dolmetsch Online - Music Theory Online - Key Centres
		A functioning dominant seventh, which because of the dissonant 'tritone' between the major third and minor seventh, wants to resolve to a tonic chord, may be replaced with a dominant seventh chord with its root a diminished fifth, a 'tritone', away.
		While the diminished seventh chord exists within the harmonic minor scale, it can also be used in a major key setting and it is said then to be 'substituting' for the dominant seventh.
		Whichever of the four notes lies in the bass, the diminished seventh, will successfully substitute for the dominant seventh because in all four variants the leading note is present and it is this that 'resolves' by moving to the tonic in the final I chord.
	www.dolmetsch.com /musictheory31.htm (4149 words)

	DOMINANT SEVENTH ARPEGGIO: Chapter 7 - Lesson 2 from the book "A CRASH COURSE IN GUITAR THEORY" (Site not responding. Last check: 2007-09-17)
		This is the entire fretboard pattern, for the dominant seventh arpeggio (1, 3, 5, b7).
		A dominant seventh arpeggio is obtainable by using just the 1, 3, b7.
		In this case, it is an "F" dominant seventh arpeggio (F7).
	www.guitarlessons.info /theory/chap7_lesson2.htm (217 words)

	Music Theory Glossary (Site not responding. Last check: 2007-09-17)
		The function of I is that of resolution and stability, whereas V represents instability, tension and drive.
		The ascending form of the melodic minor scale may be derived from a natural minor scale by raising each of the sixth and seventh degrees by a semitone.
		the seventh degree of a scale or the chord built on it.
	cctr.umkc.edu /user/bauera/Gloss.html (3762 words)

	cyberfret.com: Classic Internet Guitar Lessons
		So, for a C Dominant Seventh (C7), the chord spelling would look like this: C-E-G-Bb Please note that the Dominant Seventh is NOT found naturally in the major scale-as you can see, the C7 chord contains a Bb, whereas the scale contains a B natural.
		For a C Major Seventh, you will end up with: C-E-G-B Notice that this chord does indeed fit the C Major scale, therefore this is the chord that will occur when you harmonize the scale in diatonic sevenths.
		For an A Minor Seventh, which is the 6th degree of the C Major Scale, you will have: A-C-E-G Again, notice that the seventh of the chord fits nicely into the C Major scale.
	www.cyberfret.com /classic/more_chd_con_using_maj_scl.htm (1129 words)

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