Dominant seventh chord

The dominant seventh chord is on the dominant, so the fifth stage of a scale formed seventh chord.

In C major, the notes of the dominant seventh loud GBDF.

The minor seventh gf, but especially the diminished fifth ( the reversal interval of the tritone ) hf are dissonances that strive for resolution.

Since the dominant is preferably used as a major chord (even with a minor key, although the first third then is not part of the scale, see for dominant), the dominant seventh of C major and C minor, do not differ from each other.

Reversals

The dominant seventh chord has a basic position and three inversions:

• Basic position (root in the bass )
• Five chord ( third in the bass )
• Terzquartakkord ( fifth in the bass)
• Sekundakkord ( seventh in the bass)

The function name of the chord is D7, while D is the function of the dominant ( but not to audio d ).

In C major is the chord on the root g; the chord is, therefore there G7.

In the dominant seventh chord diminished triad is at the VII grade of primary key contain ( in C major: hdf ). This is seen in the theory of functions as a condensed ( to its root) dominant and can be used instead of the full dominant seventh. Because of its ambiguity, it is particularly well suited to modulate. The same is true for the condensed Dominantseptnonakkord with minor ninth, which corresponds to a reduced four-note chord at the VII level.

In jazz, the Terzschichtung the dominant seventh (the latter due to the symbol ♯ 9 " cross - Nine " called ) can with the small, large or excessive None, be continued with the eleventh and thirteenth of ( 7-9-11-13 ). The fifth can be altered by a semitone up or down.

Resolution of the dominant seventh

→ seventh chord section: dominant

In general, the dominant seventh chord resolves as follows (see note above standing example):

• The major third of the D7 ( the leading tone ) resolves upward to the root of the tonic.
• The minor seventh of D7 ( the sliding- ) goes one step down in the third of the tonic. (Hence arises the seventh should be in the bass, in the resolution necessarily a sixth chord. )
• The fifth of the D7 goes to the root of the tonic.
• The root of the D7 is either lying (as middle voice ) or jumps ( in the bass ) is also the root of the tonic.