# Dominant seventh chord

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Musical chord

dominant seventh chord Component intervals from root minor seventh perfect fifth major third root Tuning 4:5:6:7,[1] 20:25:30:36,[2] or 36:45:54:64[2] Forte no. / Complement 4-27 / 8-27

In [music theory](/source/Music_theory), a **dominant seventh chord**, or **major minor seventh chord**,[a] is a [seventh chord](/source/Seventh_chord) composed of a [root](/source/Root_(chord)), [major third](/source/Major_third), [perfect fifth](/source/Perfect_fifth), and [minor seventh](/source/Minor_seventh); thus it is a [major triad](/source/Major_chord) together with a minor seventh. It is often [denoted](/source/Chord_names_and_symbols_(popular_music)) by the letter name of the chord root and a superscript "7".[3] Dominant seventh chords are typically built on the fifth degree (the dominant) of the major scale.[4] An example is the dominant seventh chord built on G, written as G7, having pitches G–B–D–F:

- Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/b/n/bncc2ri4m98nud3ta40h0gi7gmdktrj/bncc2ri4.mp3).

The [leading note](/source/Leading-tone) and the [major third](/source/Major_third) combined form a diminished fifth, also known as a [tritone](/source/Tritone). The clashing sound produced by playing these two notes together gives the dominant seventh chord its dissonant quality (i.e. its [harmonic](/source/Harmony) instability).[5]

Dominant seventh chords are often built on the [fifth scale degree](/source/Dominant_(music)) (or dominant) of a [key](/source/Key_(music)). 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](/source/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](/source/Classical_music). The V7 chord is found almost as often as the V, the [dominant triad](/source/Dominant_triad),[6] and typically [functions](/source/Function_(music)) to drive the piece strongly toward a [resolution](/source/Resolution_(music)) to the [tonic](/source/Tonic_(music)) of the key.

A dominant seventh chord can be represented by the [integer notation](/source/Pitch_class#Integer_notation) {0, 4, 7, 10} relative to the dominant.

## History

The majority of [Renaissance composers](/source/Renaissance_music) conceived of harmony in terms of [intervals](/source/Interval_(music)) rather than [chords](/source/Chord_(music)); "however, certain [dissonant](/source/Consonance_and_dissonance) sonorities suggest that the dominant seventh chord occurred with some frequency."[7] [Monteverdi](/source/Claudio_Monteverdi) (usually credited as the first to use the V7 chord without [preparation](/source/Preparation_(music))[8]) and other early [Baroque composers](/source/Baroque_music) 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](/source/L'Arianna#Arianna's_lament)* (1608) is shown below. In it, a dominant seventh chord (in red) is handled conservatively, "prepared and resolved as a [suspension](/source/Suspension_(music)), clearly indicating its dissonant status."[7]

- Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/override-midi/t/c/tcmajfrlemnbiqvloumdhaop43zcikz.mp3).

The V7 was in constant use during the [Classical period](/source/Classical_period_(music)), with similar treatment to that of the Baroque. In the [Romantic period](/source/Romantic_music), freer [voice-leading](/source/Voice_leading) was gradually developed, leading to the waning of functional use in the [post-Romantic](/source/Post-romanticism) and [Impressionistic periods](/source/Impressionistic_music) including more dissonant dominant chords through higher [extensions](/source/Extended_chord) and lessened use of the major minor chord's dominant function. [Twentieth-century classical music](/source/20th-century_classical_music) either consciously used [functional harmony](/source/Functional_harmony) or was entirely free of V7 chords while [jazz](/source/Jazz) and [popular musics](/source/Popular_music) continued to use functional harmony including V7 chords.[7]

An excerpt from [Chopin](/source/Fr%C3%A9d%C3%A9ric_Chopin)'s [Mazurka in F minor (1849), Op. 68](/source/Mazurkas%2C_Op._68_(Chopin)), No. 4, mm. 1–4 is shown below with dominant sevenths in red: "the seventh factor had by this time achieved nearly consonant status."[7]

- Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/override-midi/h/z/hzjy0tyjvszwb1e2er43ofvwbdhacz1.mp3).

## Use

### Inversions

- Inversion Bottom note Roman numerals Macro analysis Root position root: 5 V7 in C: G7 First 3rd: 7 V6 5 in C: G6 5 Second 5th: 2 V4 3 in C: G4 3 Third 7th: 4 V4 2 or V2 in C: G4 2 or G2

Inversions of the Dominant Seventh Chord

Inversions of the Dominant Seventh Chord

The opening bars of [Mozart](/source/Mozart)’s [Piano Sonata in C, K545](/source/Piano_Sonata_No._16_(Mozart)) features dominant seventh chords in both second and first inversions:

Mozart Piano Sonata in C , K545 opening bars

Mozart Piano Sonata in C , K545 opening bars 02

The concluding [cadence](/source/Cadence) of the same movement features the chord in root position:

Mozart Piano Sonata in C, K545, end of first movement

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](/source/Beethoven)’s [String Quartet Op. 127](/source/String_Quartet_No._12_(Beethoven)). Here, the second and third inversions contribute to the "magnificently rich harmony" [9]:

Beethoven Quartet Op. 127 first movement, bars 135–139

Beethoven Quartet Op. 127 first movement, bars 135–139

### Function

Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/override-midi/i/t/ithsbhgkv1vqkxovyqcqe68b9dece01.mp3).

Tritone resolutions in the last measures of [Beethoven](/source/Ludwig_van_Beethoven)'s [Piano Sonata in B♭ major, Op. 22](/source/Piano_Sonata_No._11_(Beethoven)) (1800).[10]

The [function](/source/Function_(music)) of the dominant seventh chord is to [resolve](/source/Resolution_(music)) to the [tonic](/source/Tonic_(music)) note or chord.

... 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[11]

This dominant seventh chord is useful to composers because it contains both a major triad and the interval of a [tritone](/source/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](/source/Interval_(music)) between B and F is a tritone).

In a diatonic context, the third of the chord is the [leading-tone](/source/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).[11] 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](/source/Cadence_(music)).

- Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/4/q/4qwdmc346k7rqcbg4vn28jf7s73p6pv/4qwdmc34.mp3).

Because of this original usage, it also quickly became an easy way to trick the listener's ear with a [deceptive cadence](/source/Deceptive_cadence). The dominant seventh may work as part of a [circle progression](/source/Circle_progression), preceded by the [supertonic](/source/Supertonic) chord, ii.

A non-diatonic dominant seventh chord (sometimes called a *[chromatic](/source/Chromatic)* seventh) can be borrowed from another key, and this can provide a way for the composer to [modulate](/source/Modulation_(music)) 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](/source/Secondary_dominant) (V7/V, shown below), [extended dominant](/source/Extended_dominant) (V7/V/V), and [substitute dominant](/source/Substitute_dominant) (♭V7/V) chords.

- Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/8/l/8lfyl3ek9upqr6fy1j7bvjv31bwu0ku/8lfyl3ek.mp3).

### Voice leading

For [common practice](/source/Common_practice_period) [voice leading](/source/Voice_leading) or "strict [resolution](/source/Resolution_(music))" of the dominant seventh chord:[12]

- In the V7–I resolution, the dominant, leading note, and supertonic resolve to the tonic, whereas the subdominant resolves to the mediant. - Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/s/e/seea4t6w0dyz753ftkvputbwmho9ikr/seea4t6w.mp3).

- In the other resolutions, the dominant remains stationary, the leading note and supertonic resolve to the tonic, and the subdominant resolves to the mediant. - Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/1/e/1er8wdi4h0spyyidf76hch8l54mz70j/1er8wdi4.mp3).

- All four tones may be present, though the root may be doubled and the fifth omitted.[12][13][14]

- The [diminished fifth](/source/Diminished_fifth) (if the seventh is above the third, as in the first measure below) resolves inwards while the [augmented fourth](/source/Augmented_Fourth) (if the seventh is below the third, as in the second measure below) resolves outward. This means that the seventh resolves [stepwise](/source/Stepwise_motion) downwards[13][14] while the third resolves upwards to the tonic[12] though in such cases the root of the tonic chord may need to be tripled.[13] - Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/k/5/k5qa38hiy5p7bjlza4rkng8354ax4p6/k5qa38hi.mp3).

- The root of the V7, when in the [bass](/source/Bass_note), resolves to the root of the I, in the bass.[12]

- In an incomplete V7, with a missing fifth, the doubled root remains stationary.[12]

- The "free resolution of the seventh" features the seventh in an inner voice moving stepwise upwards to the fifth of I[12]

According to [Heinrich Schenker](/source/Heinrich_Schenker), "The dissonance is always passing, *never a chord member* (*Zusammenklang*),'"[15] and often (though by no means always) the voice leading suggests either a [passing note](/source/Passing_note):

- 8 7 3

- 5 5 1[*[further explanation needed](https://en.wikipedia.org/wiki/Wikipedia:Please_clarify)*]

or resolution of a (hypothetical) [suspension](/source/Suspension_(music)):

- (8) 7 3

- (4) 5 1

### In blues progressions

In music that follows follow the [blues progression](/source/Blues_progression), the [IV](/source/Subdominant) and [V](/source/Dominant_(music)) chords are "almost always" dominant seventh chords (sometimes with [extensions](/source/Extended_chord)) with the [tonic](/source/Tonic_(music)) chord most often being a major triad. Examples include [Bill Haley and the Comets](/source/Bill_Haley_%26_His_Comets)' "[Rock Around the Clock](/source/Rock_Around_the_Clock)" and [Buster Brown](/source/Buster_Brown_(musician))'s "[Fanny Mae](/source/Fannie_Mae_(song))", while in [Chuck Berry](/source/Chuck_Berry)'s "[Back in the U.S.A.](/source/Back_in_the_U.S.A.)" and [Loggins and Messina](/source/Loggins_and_Messina)'s "[Your Mama Don't Dance](/source/Your_Mama_Don't_Dance)" the tonic chord is also a dominant seventh.[16] Used mostly in the first fifteen years of the rock era and now sounding somewhat "retrospective" (e.g., [Oasis](/source/Oasis_(band))' "[Roll With It](/source/Roll_with_It_(Oasis_song))"), other examples of tonic dominant seventh chords include [Little Richard](/source/Little_Richard)'s "[Lucille](/source/Lucille_(Little_Richard_song))", [The Beatles](/source/The_Beatles)' "[I Saw Her Standing There](/source/I_Saw_Her_Standing_There)", [Nilsson](/source/Harry_Nilsson)'s "[Coconut](/source/Coconut_(Harry_Nilsson_song))", [Jim Croce](/source/Jim_Croce)'s "[You Don't Mess Around With Jim](/source/You_Don't_Mess_Around_with_Jim)", and [The Drifters](/source/The_Drifters)' "[On Broadway](/source/On_Broadway_(song))".[16] Chuck Berry's "[Rock and Roll Music](/source/Rock_and_Roll_Music_(song))" uses the dominant seventh on I, IV, and V.[17]

## Related chords

The dominant seventh is [enharmonically equivalent](/source/Enharmonic) to the [German sixth](/source/Augmented_sixth_chord#German_sixth). For example, the German sixth A♭–C–E♭–F♯ (which typically resolves to G) is equivalent to the dominant seventh A♭–C–E♭–G♭ (which typically resolves to D♭):

- Audio playback is not supported in your browser. You can [download the audio file](https://upload.wikimedia.org/score/i/u/iuiwwjlqg65npywu6c1cv3rlie0yfso/iuiwwjlq.mp3).

Just harmonic seventh chord on C. 7th: 968.826 cents, a [septimal quarter tone](/source/Septimal_quarter_tone) lower than B♭.

The dominant seventh chord is frequently used to approximate a [harmonic seventh chord](/source/Harmonic_seventh_chord), which is one possible [just tuning](/source/Just_intonation), in the ratios 4:5:6:7[1] [Play](https://upload.wikimedia.org/wikipedia/commons/transcoded/d/dd/Harmonic_seventh_on_C.mid/Harmonic_seventh_on_C.mid.mp3)[ⓘ](https://en.wikipedia.org/wiki/File:Harmonic_seventh_on_C.mid), for the dominant seventh. Others include 20:25:30:36 [Play](https://upload.wikimedia.org/wikipedia/commons/transcoded/e/ee/Just_dominant_seventh_chord_on_C.mid/Just_dominant_seventh_chord_on_C.mid.mp3)[ⓘ](https://en.wikipedia.org/wiki/File:Just_dominant_seventh_chord_on_C.mid), found on I, and 36:45:54:64, found on V, used in [5-limit](/source/Five-limit_tuning) just tunings and scales.[2]

Today, the dominant seventh chord enjoys particular prominence in the music of [barbershop quartets](/source/Barbershop_music), with the [Barbershop Harmony Society](/source/Barbershop_Harmony_Society) describing the chord as the "signature" of the barbershop sound. A song may use the chord type (built on any [scale degree](/source/Degree_(music)), not just ), for up to 30 percent of its duration.[18] As barbershop singers strive to harmonize in [just intonation](/source/Just_intonation) to maximize the audibility of harmonic [overtones](/source/Overtones), the practical sonority of the chord tends to be that of a [harmonic seventh chord](/source/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](/source/Barbershop_seventh_chord)" by those who practice it.[19][20]

## Tuning

- Chord Notation Seventh Ratios Tonic seventh chord C E G B♭ Minor seventh 20:25:30:36[21][2] Harmonic seventh chord G B D F+ Harmonic seventh 4:5:6:7[1] German sixth chord A♭ C E♭ G♭ Harmonic seventh 4:5:6:7 Dominant seventh chord G B D F Pythagorean minor seventh 36:45:54:64[2]

## Dominant seventh chord table

Chord Root Major third Perfect fifth Minor seventh C7 C E G B♭ C♯7 C♯ E♯ (F) G♯ B D♭7 D♭ F A♭ C♭ (B) D7 D F♯ A C D♯7 D♯ F (G) A♯ C♯ E♭7 E♭ G B♭ D♭ E7 E G♯ B D F7 F A C E♭ F♯7 F♯ A♯ C♯ E G♭7 G♭ B♭ D♭ F♭ (E) G7 G B D F G♯7 G♯ B♯ (C) D♯ F♯ A♭7 A♭ C E♭ G♭ A7 A C♯ E G A♯7 A♯ C (D) E♯ (F) G♯ B♭7 B♭ D F A♭ B7 B D♯ F♯ A

## See also

- [Irregular resolution](/source/Irregular_resolution)

- [Nondominant seventh chord](/source/Nondominant_seventh_chord)

- [Subtonic](/source/Subtonic)

- [Mixolydian mode](/source/Mixolydian_mode)

## Notes

1. **[^](#cite_ref-3)** also written **major-minor seventh chord**

## References

1. ^ [***a***](#cite_ref-Benitez_1-0) [***b***](#cite_ref-Benitez_1-1) [***c***](#cite_ref-Benitez_1-2) Benitez, J. M. (1988). *Contemporary Music Review: Listening 2*, p. 34. [ISBN](/source/ISBN_(identifier)) [3-7186-4846-6](https://en.wikipedia.org/wiki/Special:BookSources/3-7186-4846-6). Cites [Euler](/source/Leonhard_Euler) (1764).

1. ^ [***a***](#cite_ref-Wright_2-0) [***b***](#cite_ref-Wright_2-1) [***c***](#cite_ref-Wright_2-2) [***d***](#cite_ref-Wright_2-3) [***e***](#cite_ref-Wright_2-4) Wright, David (2009). *Mathematics and Music*, pp. 140–141. [ISBN](/source/ISBN_(identifier)) [978-0-8218-4873-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-8218-4873-9).

1. **[^](#cite_ref-4)** Bruce Benward & Marilyn Nadine Saker (2003). *Music in Theory and Practice*, seventh edition (Boston: McGraw-Hill), vol. 1: p. 77. [ISBN](/source/ISBN_(identifier)) [978-0-07-294262-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-07-294262-0).

1. **[^](#cite_ref-5)** Prout, Ebenezer (n.d.). [*Harmony: Its Theory and Practice*](https://archive.org/details/harmonyitsthe00prouuoft/page/88/mode/2up). London: Augener & Co. p. 89.

1. **[^](#cite_ref-6)** ["What is Dominant and Diminished Seventh Chords?"](https://www.libertyparkmusic.com/dominant-diminished-seventh-chords/). *Liberty Park Music*. 2017-10-03. Retrieved 2024-01-30.

1. **[^](#cite_ref-7)** Benward & Saker (2003), vol. 1: p. 199.

1. ^ [***a***](#cite_ref-BS201_8-0) [***b***](#cite_ref-BS201_8-1) [***c***](#cite_ref-BS201_8-2) [***d***](#cite_ref-BS201_8-3) Benward & Saker (2003), vol. 1: p. 201.

1. **[^](#cite_ref-9)** Goldman (1965), p. 39.

1. **[^](#cite_ref-10)** Radcliffe, P. (1965, p. 99) *Beethoven's String Quartets*. London, Hutchinson.

1. **[^](#cite_ref-11)** [Forte, Allen](/source/Allen_Forte) (1979). *Tonal Harmony in Concept & Practice*, p. 145. Third edition. [ISBN](/source/ISBN_(identifier)) [0-03-020756-8](https://en.wikipedia.org/wiki/Special:BookSources/0-03-020756-8).

1. ^ [***a***](#cite_ref-Goldman_12-0) [***b***](#cite_ref-Goldman_12-1) [Goldman, Richard Franco](/source/Richard_Franko_Goldman) (1965), *Harmony in Western Music* (London: Barrie and Rockliff), pp. 34–35. [ISBN](/source/ISBN_(identifier)) [978-0-214-66680-3](https://en.wikipedia.org/wiki/Special:BookSources/978-0-214-66680-3).

1. ^ [***a***](#cite_ref-Techniques_13-0) [***b***](#cite_ref-Techniques_13-1) [***c***](#cite_ref-Techniques_13-2) [***d***](#cite_ref-Techniques_13-3) [***e***](#cite_ref-Techniques_13-4) [***f***](#cite_ref-Techniques_13-5) Benjamin, Horvit, and Nelson (2008). *Techniques and Materials of Music*, pp. 46–47. [ISBN](/source/ISBN_(identifier)) [0-495-50054-2](https://en.wikipedia.org/wiki/Special:BookSources/0-495-50054-2).

1. ^ [***a***](#cite_ref-B&S_200s_14-0) [***b***](#cite_ref-B&S_200s_14-1) [***c***](#cite_ref-B&S_200s_14-2) Benward & Saker (2003), vol. 1: pp. 202–204.

1. ^ [***a***](#cite_ref-B&S_343_15-0) [***b***](#cite_ref-B&S_343_15-1) Benward & Saker (2008), vol. 2: p. 343

1. **[^](#cite_ref-16)** [Schenker, Heinrich](/source/Heinrich_Schenker). *Jahrbuch II*, p. 24 cited in [Jonas, Oswald](/source/Oswald_Jonas) (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](/source/ISBN_(identifier)) [0-582-28227-6](https://en.wikipedia.org/wiki/Special:BookSources/0-582-28227-6).

1. ^ [***a***](#cite_ref-Stephenson_17-0) [***b***](#cite_ref-Stephenson_17-1) Stephenson, Ken (2002). *What to Listen for in Rock: A Stylistic Analysis*, p. 82. [ISBN](/source/ISBN_(identifier)) [978-0-300-09239-4](https://en.wikipedia.org/wiki/Special:BookSources/978-0-300-09239-4).

1. **[^](#cite_ref-18)** Stephenson (2002), p. 75.

1. **[^](#cite_ref-19)** Rose, Amy (February 2, 2017). "[Intro to Barbershop: What is Barbershop?](https://www.barbershop.org/intro-to-barbershop-what-is-barbershop/)", *BarberShop.org*.

1. **[^](#cite_ref-20)** ["OnMusic Dictionary - Term"](https://web.archive.org/web/20240113233957/https://dictionary.onmusic.org/terms/325-barbershop_seventh_chord). *dictionary.onmusic.org*. Archived from [the original](https://dictionary.onmusic.org/terms/325-barbershop_seventh_chord) on 2024-01-13. Retrieved 2024-01-13.

1. **[^](#cite_ref-21)** ["Intro to Barbershop: What is Barbershop?"](https://web.archive.org/web/20240113234200/https://www.barbershop.org/intro-to-barbershop-what-is-barbershop). *Intro to Barbershop: What is Barbershop? | Barbershop Harmony Society*. Archived from [the original](https://www.barbershop.org/intro-to-barbershop-what-is-barbershop) on 2024-01-13. Retrieved 2024-01-13.

1. **[^](#cite_ref-Shirlaw_22-0)** Shirlaw, Matthew (1900). *The Theory of Harmony*, p. 86. [ISBN](/source/ISBN_(identifier)) [978-1-4510-1534-8](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4510-1534-8).

## External links

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

v t e Degrees and functions of the diatonic scale I / i (Major/Minor) ii / ♭II iii / ♭III IV / iv V / v vi / ♭VI viio / ♭VII Tonic Supertonic Leading tone Sp Mediant Dp, Tl / tP, dL [D](Sp) Subdominant Dominant Submediant Tp, Sl / sP, tL Leading tone D̸7 Subtonic dP C D / D♭ (Minor/Neapolitan) E♮ / E♭ (Minor/Major) F G A♮ / A♭ (Minor/Major) B♮ / B♭ (Diminished/Major)

v t e Chords By form Triad Major Minor Augmented Diminished Suspended Seventh Leading-tone Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Altered seventh Nondominant Harmonic seventh Extended Ninth Eleventh Thirteenth Upper structure Dominant 7♯9 Polychord Tone cluster Added / omitted Sixth Augmented sixth Lydian Seven six Specific Alpha Bridge Complexe sonore Dream Elektra Farben Grandmother Magic Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord General Mixed interval Secundal Tertian Quartal and quintal Synthetic chord Tetrad By function Diatonic Tonic Supertonic Mediant Subdominant Dominant Submediant Leading tone / Subtonic Altered Approach Borrowed Chromatic mediant Neapolitan Passing Secondary Secondary dominant Secondary leading-tone Secondary supertonic Other Common Contrast Primary triad Subsidiary Substitute Techniques Barre Block Chordioid Chord-scale system Guitar Open Power Slash Other Arpeggio Chord names and symbols List of chords Factor

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