Dominant seventh chord

{{Short description|Musical chord}} {{Infobox chord |chord_name=dominant seventh chord |first_interval=[[Root (chord)|root]] |second_interval=[[major third]] |third_interval=[[perfect fifth]] |fourth_interval=[[minor seventh]] |tuning=[[just intonation|4:5:6:7]],<ref name="Benitez"/> 20:25:30:36,<ref name="Wright"/> or [[5-limit tuning|36:45:54:64]]<ref name="Wright"/> |forte_number=4-27 |complement=8-27 }}

In [[music theory]], a ''' dominant seventh chord''', or '''major minor seventh chord''',{{efn|also written '''major-minor seventh chord'''}} is a [[seventh chord]] composed of a [[root (chord)|root]], [[major third]], [[perfect fifth]], and [[minor seventh]]; thus it is a [[Major chord|major triad]] together with a minor seventh. It is often [[Chord names and symbols (popular music)|denoted]] by the letter name of the chord root and a superscript "7".<ref>Bruce Benward & Marilyn Nadine Saker (2003). ''Music in Theory and Practice'', seventh edition (Boston: McGraw-Hill), vol. 1: p. 77. {{ISBN|978-0-07-294262-0}}.</ref> Dominant seventh chords are typically built on the fifth degree (the dominant) of the major scale.<ref>{{Cite book |last=Prout |first=Ebenezer |url=https://archive.org/details/harmonyitsthe00prouuoft/page/88/mode/2up |title=Harmony: Its Theory and Practice |publisher=Augener & Co. |date=n.d. |location=London |pages=89 |orig-date=}}</ref> An example is the dominant seventh chord built on G, written as G⁷, having pitches G–B–D–F:

:<score sound="1"> { \override Score.TimeSignature #'stencil = ##f \relative c'' { \clef treble \time 4/4 \key c \major <g b d f>1 } } </score>

The [[Leading-tone|leading note]] and the [[major third]] combined form a diminished fifth, also known as a [[tritone]]. The clashing sound produced by playing these two notes together gives the dominant seventh chord its dissonant quality (i.e. its [[Harmony|harmonic]] instability).<ref>{{Cite web |date=2017-10-03 |title=What is Dominant and Diminished Seventh Chords? |url=https://www.libertyparkmusic.com/dominant-diminished-seventh-chords/ |access-date=2024-01-30 |website=Liberty Park Music |language=en-US}}</ref>

Dominant seventh chords are often built on the [[Dominant (music)|fifth scale degree]] (or dominant) of a [[Key (music)|key]]. For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord of this scale, G⁷ (shown above). In this chord, F is a minor seventh above G. In [[Roman numeral analysis]], G⁷ would be represented as V⁷ in the key of C major.

This chord also occurs on the seventh degree of any natural minor scale (e.g., G7 in A minor).

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]],<ref>Benward & Saker (2003), vol. 1: p. 199.</ref> and typically [[Function (music)|functions]] to drive the piece strongly toward a [[Resolution (music)|resolution]] to the [[Tonic (music)|tonic]] of the key.

A dominant seventh chord can be represented by the [[Pitch class#Integer notation|integer notation]] {0, 4, 7, 10} relative to the dominant.

==History== The majority of [[Renaissance music|Renaissance composers]] conceived of harmony in terms of [[Interval (music)|intervals]] rather than [[Chord (music)|chords]]; "however, certain [[Consonance and dissonance|dissonant]] sonorities suggest that the dominant seventh chord occurred with some frequency."<ref name="BS201" /> [[Claudio Monteverdi|Monteverdi]] (usually credited as the first to use the V⁷ chord without [[preparation (music)|preparation]]<ref>Goldman (1965), p. 39.</ref>) and other early [[Baroque music|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", ''[[L'Arianna#Arianna's lament|Lamento d'Arianna]]'' (1608) is shown below. In it, a dominant seventh chord (in red) is handled conservatively, "prepared and resolved as a [[suspension (music)|suspension]], clearly indicating its dissonant status."<ref name="BS201">Benward & Saker (2003), vol.&nbsp;1: p.&nbsp;201.</ref>

:<score sound="1" override_midi="Monteverdi Lamento d'Arianna dominant seventh.mid"> { \override Score.SpacingSpanner.strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1/8) << \new StaffGroup << \new Staff << \new Voice \relative c'' { \clef treble \time 4/4 \key c \major \voiceOne d2 r4 f, \once \override NoteHead.color = #red e1 fis2 } \new Voice \relative c'' { \clef treble \time 4/4 \key c \major \voiceTwo bes2 d, \once \override NoteHead.color = #red cis4 d2 cis4 d1 } >> \new Staff << \new Voice \relative c'' { \clef treble \time 4/4 \key c \major \stemUp g2 r4 bes, \once \override NoteHead.color = #red a1 a } >> \new Staff << \new Voice \relative c' { \clef bass \time 4/4 \key c \major \voiceOne bes4 a g2~ \once \override NoteHead.color = #red g4 f e2 d } \new Voice \relative c { \clef bass \time 4/4 \key c \major \voiceTwo g1 \once \override NoteHead.color = #red a d } >> >> >> } </score>

The V⁷ was in constant use during the [[Classical period (music)|Classical period]], with similar treatment to that of the Baroque. In the [[Romantic music|Romantic period]], freer [[Voice leading|voice-leading]] was gradually developed, leading to the waning of functional use in the [[Post-romanticism|post-Romantic]] and [[Impressionistic music|Impressionistic periods]] including more dissonant dominant chords through higher [[Extended chord|extensions]] and lessened use of the major minor chord's dominant function. [[20th-century classical music|Twentieth-century classical music]] either consciously used [[functional harmony]] or was entirely free of V⁷ chords while [[jazz]] and [[popular music]]s continued to use functional harmony including V⁷ chords.<ref name="BS201" />

An excerpt from [[Frédéric Chopin|Chopin]]'s [[Mazurkas, Op. 68 (Chopin)|Mazurka in F minor (1849), 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."<ref name="BS201" />

:<score sound="1" override_midi="Chopin - Mazurka in F minor, op. 68, no. 4, m. 1-4, dominant sevenths.mid"> { \new PianoStaff << \new Staff << \new Voice \relative c'' { \clef treble \key f \minor \time 3/4 \override DynamicLineSpanner.staff-padding = #2 c4~(_\markup { \italic "sotto voce" } c8[ des] des[ c] b\trill ais \once \override NoteHead.color = #red b4\< g')\! bes,!~( \once \override NoteHead.color = #red bes8[ c] c[ bes] a8\trill gis \once \override NoteHead.color = #red a4\< f')\! } >> \new Staff << \new Voice \relative c' { \clef bass \key f \minor \time 3/4 r4 <aes c f> <aes c f> r \once \override NoteHead.color = #red <g d' f> <g des' f> r \once \override NoteHead.color = #red <ges des' fes> <ges c es> r \once \override NoteHead.color = #red <f c' es> <f ces' es> } >> >> } </score>

==Use==

===Inversions=== :{|class="wikitable" |- ! Inversion !! Bottom note!! Roman numerals !! Macro analysis |- | Root position || root: 5 || V7 || in C: G7 |- | First || 3rd: 7 || V{{su|b=5|p=6}} || in C: G{{su|b=5|p=6}} |- | Second || 5th: 2 || V{{su|b=3|p=4}} || in C: G{{su|b=3|p=4}} |- | Third || 7th: 4 || V{{su|b=2|p=4}} or V² || in C: G{{su|b=2|p=4}} or G² |}

[[File:Inversions of the Dominant Seventh Chord 01.wav|thumb|Inversions of the Dominant Seventh Chord]][[File:Inversions of the Dominant Seventh Chord 02.png|thumb|center|500px|Inversions of the Dominant Seventh Chord]] The opening bars of [[Mozart]]’s [[Piano Sonata No. 16 (Mozart)|Piano Sonata in C, K545]] features dominant seventh chords in both second and first inversions:[[File:Mozart Piano Sonata in C , K545 opening bars 01.wav|thumb|Mozart Piano Sonata in C , K545 opening bars]][[File:Mozart Piano Sonata in C , K545 opening bars 02.png|thumb|center|500px|Mozart Piano Sonata in C , K545 opening bars 02]]The concluding [[cadence]] of the same movement features the chord in root position:[[File:Mozart Piano Sonata in C, K545, end of first movement 01.wav|thumb|Mozart Piano Sonata in C, K545, end of first movement]][[File:Mozart Piano Sonata in C, K545, end of first movement 02.png|thumb|center|500px|Mozart Piano Sonata in C, K545, end of first movement 02]]A striking use of inversions of the dominant seventh can be found in this passage from the first movement of [[Beethoven]]’s [[String Quartet No. 12 (Beethoven)| String Quartet Op. 127]]. Here, the second and third inversions contribute to the "magnificently rich harmony" <ref>Radcliffe, P. (1965, p. 99) ''Beethoven's String Quartets''. London, Hutchinson.</ref>:[[File:Beethoven Quartet Op. 127 first movement, bars 135-9.wav|thumb|Beethoven Quartet Op. 127 first movement, bars 135–139]][[File:Beethoven Quartet Op. 127 first movement, bars 135-10.png|thumb|center|500px|Beethoven Quartet Op. 127 first movement, bars 135–139]]

===Function=== {{Image frame|content=<score sound="1" override_midi="Beethoven - Piano Sonata in B-flat major, Op. 22 - dominant seventh.mid"> { \override Score.SpacingSpanner.strict-note-spacing = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1/12) \new PianoStaff << \new Staff << \relative c' { \clef treble \key bes \major \time 2/4 r8 <es a>-.\p <d bes'>-.[ <c' es a>-.] <bes d bes'>-.\ff r } >> \new Staff << \new Voice \relative c { \clef bass \key bes \major \time 2/4 \stemUp <d bes'>8 \stemNeutral <f c'>-.[_\markup { \concat { "V" \raise #1 \small "7" \hspace #1.2 "I" \hspace #2 "V" \raise #1 \small "7" \hspace #1.7 "I" } } bes-.] <f, f'>-. <bes, bes'>-. r \bar "|." } \new Voice \relative c, { \clef bass \key bes \major \time 2/4 \stemDown bes8 } >> >> } </score>|width=300|caption=Tritone resolutions in the last measures of [[Ludwig van Beethoven|Beethoven]]'s [[Piano Sonata No. 11 (Beethoven)|Piano Sonata in B{{music|flat}} major, Op. 22]] (1800).<ref>[[Allen Forte|Forte, Allen]] (1979). ''Tonal Harmony in Concept & Practice'', p. 145. Third edition. {{ISBN|0-03-020756-8}}.</ref>}} The [[Function (music)|function]] of the dominant seventh chord is to [[Resolution (music)|resolve]] to the [[Tonic (music)|tonic]] note or chord.

{{quote|... the demand of the V⁷ for resolution is, ''to our ears'', almost inescapably compelling. The dominant seventh is, in fact, the central propulsive force in our music; it is unambiguous and unequivocal.|Goldman|1965: 35<ref name="Goldman">[[Richard Franko Goldman|Goldman, Richard Franco]] (1965), ''Harmony in Western Music'' (London: Barrie and Rockliff), pp.&nbsp;34–35. {{ISBN|978-0-214-66680-3}}.</ref>}}

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 fourth degree and seventh degree (e.g., in the G⁷ chord, the [[Interval (music)|interval]] between B and F is a tritone).

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 (e.g., in C, the third of G⁷, B, is the leading tone of the key of C). The seventh of the chord acts as an upper leading-tone to the third of the scale (in C: the seventh of G⁷, F, is a half-step above and leads down to E).<ref name="Goldman" /> This, in combination with the strength of root movement by fifth, and the natural resolution of the dominant triad to the tonic triad (e.g., from GBD to CEG in the key of C major), creates a resolution with which to end a piece or a section, often in a [[Cadence (music)|cadence]].

:<score sound="1"> \new PianoStaff << \new Staff << \relative c' { \voiceOne \clef treble \key c \major \time 4/4 <f g d'>1 <e g c> } >> \new Staff << \new Voice \relative c' { \clef bass \key c \major \time 4/4 b_\markup { \concat { "V" \combine \raise #1 \small 6 \lower #1 \small 5 \hspace #6 "I" } } c \bar "||" } >> >> </score>

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.

A non-diatonic dominant seventh chord (sometimes called a ''[[chromatic]]'' seventh) can be borrowed from another key, and this can provide a way for the composer to [[modulation (music)|modulate]] to that other key. This technique is extremely common, particularly since the Classical period, and it has led to further innovative uses of the dominant seventh chord such as [[secondary dominant]] (V⁷/V, shown below), [[extended dominant]] (V⁷/V/V), and [[substitute dominant]] ({{music|b}}V⁷/V) chords.

:<score sound="1"> { \set Score.proportionalNotationDuration = #(ly:make-moment 1/4) \new PianoStaff << \new Staff << \new voice \relative c'' { \clef treble \key c \major \time 4/4 \voiceOne c2 b c1 } \new voice \relative c'' { \clef treble \key c \major \time 4/4 \voiceTwo a2 g g1 } >> \new Staff << \new voice \relative c' { \clef bass \key c \major \time 4/4 \voiceOne d2 d e1 } \new voice \relative c { \clef bass \key c \major \time 4/4 \voiceTwo fis2_\markup { \translate #'(-2 . 0) { \concat { "V" \combine \raise #1 \small 6 \lower #1 \small 5 "/V" \hspace #3 "V" \hspace #7 "I" } } } g c,1 \bar "||" } >> >> } </score>

===Voice leading=== For [[Common practice period|common practice]] [[voice leading]] or "strict [[resolution (music)|resolution]]" of the dominant seventh chord:<ref name="Techniques"/> * In the V⁷–I resolution, the dominant, leading note, and supertonic resolve to the tonic, whereas the subdominant resolves to the mediant. *:<score sound="1"> \new PianoStaff << \new Staff << \relative c' { \voiceOne \clef treble \key c \major \time 4/4 <f b d>1 <e c' c> } >> \new Staff << \new Voice \relative c' { \clef bass \key c \major \time 4/4 g_\markup { \concat { "V" \raise #1 \small "7" \hspace #6 "I" } } c \bar "||" } >> >> </score> * In the other resolutions, the dominant remains stationary, the leading note and supertonic resolve to the tonic, and the subdominant resolves to the mediant. *:<score sound="1"> \new PianoStaff << \new Staff << \relative c' { \voiceOne \clef treble \key c \major \time 4/4 <f g>1 <e g> } >> \new Staff << \new Voice \relative c' { \clef bass \key c \major \time 4/4 <g b>_\markup { \concat { "V" \raise #1 \small "7" \hspace #6 "I" } } <c, c'> \bar "||" } >> >> </score> * All four tones may be present, though the root may be doubled and the fifth omitted.<ref name="Techniques">Benjamin, Horvit, and Nelson (2008). ''Techniques and Materials of Music'', pp. 46–47. {{ISBN|0-495-50054-2}}.</ref><ref name="B&S 200s">Benward & Saker (2003), vol. 1: pp.&nbsp;202–204.</ref><ref name="B&S 343">Benward & Saker (2008), vol.&nbsp;2: p.&nbsp;343</ref> * The [[diminished fifth]] (if the seventh is above the third, as in the first measure below) resolves inwards while the [[Augmented Fourth|augmented fourth]] (if the seventh is below the third, as in the second measure below) resolves outward. This means that the seventh resolves [[Stepwise motion|stepwise]] downwards<ref name="B&S 200s"/><ref name="B&S 343"/> while the third resolves upwards to the tonic<ref name="Techniques"/> though in such cases the root of the tonic chord may need to be tripled.<ref name="B&S 200s"/> *:<score sound="1"> \new Staff << \new Voice \relative c'' { \clef treble \key c \major \time 4/4 \stemUp f2 e b c } \new Voice \relative c'' { \clef treble \key c \major \time 4/4 \stemDown b2 c \bar "||" f, e \bar "||" } >> </score> * The root of the V⁷, when in the [[bass note|bass]], resolves to the root of the I, in the bass.<ref name="Techniques"/> * In an incomplete V⁷, with a missing fifth, the doubled root remains stationary.<ref name="Techniques"/> * The "free resolution of the seventh" features the seventh in an inner voice moving stepwise upwards to the fifth of I<ref name="Techniques"/>

According to [[Heinrich Schenker]], "The dissonance is always passing, ''never a chord member'' (''Zusammenklang''),'"<ref>[[Heinrich Schenker|Schenker, Heinrich]]. ''Jahrbuch II'', p. 24 cited in [[Oswald Jonas|Jonas, Oswald]] (1982). ''Introduction to the Theory of Heinrich Schenker'' (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''), p. 20. Translator: John Rothgeb. {{ISBN|0-582-28227-6}}.</ref> and often (though by no means always) the voice leading suggests either a [[passing note]]: :8 7 3 :5 5 1{{Explanation needed|reason=It isn't clear what this means|date=December 2018}}

or resolution of a (hypothetical) [[suspension (music)|suspension]]: :(8) 7 3 :(4) 5 1

=== In blues progressions === In music that follows follow the [[blues progression]], the [[Subdominant|IV]] and [[Dominant (music)|V]] chords are "almost always" dominant seventh chords (sometimes with [[Extended chord|extensions]]) with the [[Tonic (music)|tonic]] chord most often being a major triad. Examples include [[Bill Haley & His Comets|Bill Haley and the Comets]]' "[[Rock Around the Clock]]" and [[Buster Brown (musician)|Buster Brown]]'s "[[Fannie Mae (song)|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.<ref name="Stephenson">Stephenson, Ken (2002). ''What to Listen for in Rock: A Stylistic Analysis'', p. 82. {{ISBN|978-0-300-09239-4}}.</ref> Used mostly in the first fifteen years of the rock era and now sounding somewhat "retrospective" (e.g., [[Oasis (band)|Oasis]]' "[[Roll with It (Oasis song)|Roll With It]]"), other examples of tonic dominant seventh chords include [[Little Richard]]'s "[[Lucille (Little Richard song)|Lucille]]", [[The Beatles]]' "[[I Saw Her Standing There]]", [[Harry Nilsson|Nilsson]]'s "[[Coconut (Harry Nilsson song)|Coconut]]", [[Jim Croce]]'s "[[You Don't Mess Around with Jim|You Don't Mess Around With Jim]]", and [[The Drifters]]' "[[On Broadway (song)|On Broadway]]".<ref name="Stephenson" /> Chuck Berry's "[[Rock and Roll Music (song)|Rock and Roll Music]]" uses the dominant seventh on I, IV, and V.<ref>Stephenson (2002), p. 75.</ref>

==Related chords== The dominant seventh is [[enharmonic|enharmonically equivalent]] to the [[Augmented sixth chord#German sixth|German sixth]]. For example, the German sixth A{{music|b}}–C–E{{music|b}}–F{{music|#}} (which typically resolves to G) is equivalent to the dominant seventh A{{music|b}}–C–E{{music|b}}–G{{music|b}} (which typically resolves to D{{music|b}}):

: <score sound="1"> { \override Score.TimeSignature #'stencil = ##f \new PianoStaff << \new Staff << \relative c' { \clef treble \key c \major \time 4/4 \textLengthOn <es fis>1^\markup { \small "German 6th" } <es ges>^\markup {\small "Dominant 7th" } } >> \new Staff << \relative c' { \clef bass \key c \major \time 4/4 <aes c>1 \bar "||" <aes c> \bar "||" } >> >> } </score>

[[File:Harmonic seventh chord just on C.png|thumb|Just harmonic seventh chord on C. 7th: 968.826 cents, a [[septimal quarter tone]] lower than B{{music|b}}.[[File:Harmonic seventh chord just on C.mid|175x175px]]|175x175px]] The dominant seventh chord is frequently used to approximate a [[harmonic seventh chord]], which is one possible [[just intonation|just tuning]], in the ratios 4:5:6:7<ref name="Benitez">Benitez, J. M. (1988). ''Contemporary Music Review: Listening 2'', p. 34. {{ISBN|3-7186-4846-6}}. Cites [[Leonhard Euler|Euler]] (1764).</ref> {{audio|Harmonic seventh on C.mid|Play}}, for the dominant seventh. Others include 20:25:30:36 {{audio|Just dominant seventh chord on C.mid|Play}}, found on I, and 36:45:54:64, found on V, used in [[Five-limit tuning|5-limit]] just tunings and scales.<ref name="Wright">Wright, David (2009). ''Mathematics and Music'', pp. 140–141. {{ISBN|978-0-8218-4873-9}}.</ref>

Today, the dominant seventh chord enjoys particular prominence in the music of [[Barbershop music|barbershop quartets]], with the [[Barbershop Harmony Society]] describing the chord as the "signature" of the barbershop sound. A song may use the chord type (built on any [[Degree (music)|scale degree]], not just {{music|scale|5}}), for up to 30 percent of its duration.<ref>Rose, Amy (February 2, 2017). "[https://www.barbershop.org/intro-to-barbershop-what-is-barbershop/ Intro to Barbershop: What is Barbershop?]", ''BarberShop.org''.</ref> 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.<ref>{{Cite web |title=OnMusic Dictionary - Term |url=https://dictionary.onmusic.org/terms/325-barbershop_seventh_chord |archive-url=https://web.archive.org/web/20240113233957/https://dictionary.onmusic.org/terms/325-barbershop_seventh_chord |archive-date=2024-01-13 |access-date=2024-01-13 |website=dictionary.onmusic.org}}</ref><ref>{{Cite web |title=Intro to Barbershop: What is Barbershop? |url=https://www.barbershop.org/intro-to-barbershop-what-is-barbershop |archive-url=https://web.archive.org/web/20240113234200/https://www.barbershop.org/intro-to-barbershop-what-is-barbershop |archive-date=2024-01-13 |access-date=2024-01-13 |website=Intro to Barbershop: What is Barbershop? {{!}} Barbershop Harmony Society |language=en-US}}</ref>

==Tuning<!--[[Dominant seventh chord]] redirects directly here.-->== :{|class="wikitable" |- ! Chord !! [[Ben Johnston's notation|Notation]] !! Seventh !! Ratios |- | Tonic seventh chord || C E G {{nowrap|B{{music|b}}}} || [[Minor seventh]] || 20:25:30:36<ref name="Shirlaw">Shirlaw, Matthew (1900). ''The Theory of Harmony'', p. 86. {{ISBN|978-1-4510-1534-8}}.</ref><ref name="Wright"/> |- | Harmonic seventh chord || G B D {{nowrap|F{{music|7}}+}} || [[Harmonic seventh]] || 4:5:6:7<ref name="Benitez"/> |- | German sixth chord || {{nowrap|A{{music|b}}}} C {{nowrap|E{{music|b}}}} {{nowrap|G{{music|7}}}}{{music|b}} || Harmonic seventh || 4:5:6:7 |- | Dominant seventh chord || G B D F || [[Pythagorean minor seventh]] || 36:45:54:64<ref name="Wright"/> |}

==Dominant seventh chord table== {|class="wikitable" !bgcolor=#dddddd|Chord !bgcolor=#dddddd|Root !bgcolor=#dddddd|Major third !bgcolor=#dddddd|Perfect fifth !bgcolor=#dddddd|Minor seventh |- !C⁷ |C |E |G |B{{music|b}} |- !C{{music|#}}⁷ |C{{music|#}} |E{{music|#}} (F) |G{{music|#}} |B |- !D{{music|b}}⁷ |D{{music|b}} |F |A{{music|b}} |C{{music|b}} (B) |- !D⁷ |D |F{{music|#}} |A |C |- !D{{music|#}}⁷ |D{{music|#}} |F{{music|x}} (G) |A{{music|#}} |C{{music|#}} |- !E{{music|b}}⁷ |E{{music|b}} |G |B{{music|b}} |D{{music|b}} |- !E⁷ |E |G{{music|#}} |B |D |- !F⁷ |F |A |C |E{{music|b}} |- !F{{music|#}}⁷ |F{{music|#}} |A{{music|#}} |C{{music|#}} |E |- !G{{music|b}}⁷ |G{{music|b}} |B{{music|b}} |D{{music|b}} |F{{music|b}} (E) |- !G⁷ |G |B |D |F |- !G{{music|#}}⁷ |G{{music|#}} |B{{music|#}} (C) |D{{music|#}} |F{{music|#}} |- !A{{music|b}}⁷ |A{{music|b}} |C |E{{music|b}} |G{{music|b}} |- !A⁷ |A |C{{music|#}} |E |G |- !A{{music|#}}⁷ |A{{music|#}} |C{{music|##}} (D) |E{{music|#}} (F) |G{{music|#}} |- !B{{music|b}}⁷ |B{{music|b}} |D |F |A{{music|b}} |- !B⁷ |B |D{{music|#}} |F{{music|#}} |A |- |}

==See also== * [[Irregular resolution]] * [[Nondominant seventh chord]] * [[Subtonic]] * [[Mixolydian mode]]

==Notes== {{notelist}}

==References== {{reflist|25em}}

==External links==

* [https://www.jazzguitar.be/blog/dominant-chords/ Dominant Chords] Theory and applications for jazz guitar

{{Degrees}} {{Chords|state=expanded}} {{Commonscat|Dominant seventh chords|Dominant seventh chord}}

{{DEFAULTSORT:Dominant Seventh Chord}} [[Category:Dominant chords]] [[Category:Seventh chords]]