10.2.1: Dominant Seventh Chord
- Page ID
- 258523
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Composition of a Dominant Seventh Chord (Mm7)
The dominant seventh is the chord that naturally occurs in a major key when we build a seventh chord on the fifth scale degree (or starting on sol). These are stacked thirds that go up four notes.
The dominant seventh chord is also called a "major minor seventh" (Mm7).
Intervals
We can think of the dominant seventh chord as one of the following:
- A major triad with a minor seventh (measured from the root of the chord to the top note of the chord)
- A major triad with an added minor third on top (measured from the fifth of the chord to the top note of the chord)
- A seventh chord made up of scale degrees 5, 7, 2, and 4 (sol, ti, re, and fa)
If my piece of music is in the key of D, my dominant seventh chord will start on A and be made up of pitches entirely in the key. If my piece of music is in the key of B-flat, my dominant seventh chord will start on F.
The Sound of the V7
The presence of the major triad gives this seventh chord a bright sound. The presence of the minor seventh between the fifth and fourth scale degrees also gives this chord a distinct sound. Some tones of the major scale have a tendency to want to move and progress in one direction or another. This chord has a few strong tones.
- A minor seventh tends to resolve inward. The top note of the minor seventh has a strong pull to resolve by coming down a step.
- Fa in the key is a half step above mi and has a strong tendency to step down by that minor second.
- The dominant seventh chord also contains the leading tone of the key (ti). The leading tone of the key has a strong pull to resolve up by a step to the tonic.
- The presence of both of these strong tendency tones means that this seventh chord is in a state of tension that wants to resolve to our tonic chord.
As you listen to the dominant seventh, think about what your ear wants to hear next. Can you hear it resolving to a tonic chord?
G Mm7
The G Mm7 or dominant seventh chord is the naturally occurring seventh chord that is built on the fifth scale degree in C major.
A Mm7
The A Mm7 or dominant seventh chord is the naturally occurring seventh chord that is built on the fifth scale degree in D major.
F Mm7
The F Mm7 or dominant seventh chord is the naturally occurring seventh chord that is built on the fifth scale degree in B-flat major.
