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of the scale, which has a strong tendency to pull towards the tonic of the key (e.g., in C, the third of G, 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 G, F, is a half-step above and leads down to E).
580:
717:
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
610:
150:
by the letter name of the chord root and a superscript "7". In most cases, dominant seventh chord are built on the fifth degree of the major scale. An example is the dominant seventh chord built on G, written as G, having pitches G–B–D–F:
1213:
552:
579:
521:
611:
1201:
553:
1181:
200:. 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, G (shown above). In this chord, F is a minor seventh above G. In
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1182:
768:
to that other key. This technique is extremely common, particularly since the
Classical period, and has led to further innovative uses of the dominant seventh chord such as
2601:
705:. The major triad confers a very "strong" sound. The tritone is created by the co-occurrence of the third degree and seventh degree (e.g., in the G chord, the
578:
850:
In the other resolutions, the dominant remains stationary, the leading note and supertonic resolve to the tonic, and the subdominant resolves to the mediant.
609:
581:
1030:" the tonic chord is also a dominant seventh. Used mostly in the first fifteen years of the rock era and now sounding somewhat "retrospective" (e.g.,
551:
612:
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520:
147:
691:, almost inescapably compelling. The dominant seventh is, in fact, the central propulsive force in our music; it is unambiguous and unequivocal.
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In the V–I resolution, the dominant, leading note, and supertonic resolve to the tonic, whereas the subdominant resolves to the mediant.
185:). The clashing sounds produced by playing these two notes together gives the dominant seventh chord its dissonant quality (i.e, lack of
523:
359:, No. 4, mm. 1–4 is shown below with dominant sevenths in red: "the seventh factor had by this time achieved nearly consonant status."
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downwards while the third resolves upwards to the tonic though in such cases the root of the tonic chord may need to be tripled.
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The dominant seventh is perhaps the most important of the seventh chords. It was the first seventh chord to appear regularly in
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883:(if the seventh is below the third, as in the second measure below) resolves outward. This means that the seventh resolves
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282:(1608) is shown below. In it, a dominant seventh chord (in red) is handled conservatively, "prepared and resolved as a
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The "free resolution of the seventh" features the seventh in an inner voice moving stepwise upwards to the fifth of I
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This dominant seventh chord is useful to composers because it contains both a major triad and the interval of a
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1260:. This chord type has become so ingrained into the fabric of the artform that it is often referred to as the "
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describing the chord as the "signature" of the barbershop sound. A song may use the chord type (built on any
597:
A striking use of inversions of the dominant seventh can be found in this passage from the first movement of
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Similarly, this chord also occurs on the seventh degree of any natural minor scale (e.g., G7 in A minor).
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Because of this original usage, it also quickly became an easy way to trick the listener's ear with a
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879:(if the seventh is above the third, as in the first measure below) resolves inwards while the
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Das Wesen des musikalischen
Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers
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All four tones may be present, though the root may be doubled and the fifth omitted.
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begin to treat the V as a chord as part of the introduction of functional harmony.
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sonorities suggest that the dominant seventh chord occurred with some frequency."
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Today, the dominant seventh chord enjoys particular prominence in the music of
935:),'" and often (though by no means always) the voice leading suggests either a
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In an incomplete V, with a missing fifth, the doubled root remains stationary.
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was gradually developed, leading to the waning of functional use in the
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1116:(which typically resolves to G) is equivalent to the dominant seventh A
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Importantly, non-diatonic dominant seventh chords (sometimes called a
2556:
Intro to
Barbershop: What is Barbershop? | Barbershop Harmony Society
547:
features dominant seventh chords in both second and first inversions:
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chords are "almost always" dominant seventh chords (sometimes with
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The dominant seventh chord is frequently used to approximate a
764:
seventh), borrowed from another key, can allow the composer to
332:
and lessened use of the major minor chord's dominant function.
1996:
1256:, the practical sonority of the chord tends to be that of a
1038:"), other examples of tonic dominant seventh chords include
265:(usually credited as the first to use the V chord without
2910:
1993:, the left is the low E string. x means mute the string.
1150:
Audio playback is not supported in your browser. You can
896:
Audio playback is not supported in your browser. You can
859:
Audio playback is not supported in your browser. You can
837:
Audio playback is not supported in your browser. You can
796:
Audio playback is not supported in your browser. You can
731:
Audio playback is not supported in your browser. You can
641:
Audio playback is not supported in your browser. You can
574:
of the same movement features the chord in root position:
369:
Audio playback is not supported in your browser. You can
296:
Audio playback is not supported in your browser. You can
161:
Audio playback is not supported in your browser. You can
2237:, seventh edition (Boston: McGraw-Hill), vol. 1: p. 77.
1166:
Just harmonic seventh chord on C. 7th: 968.826 cents, a
593:
Mozart Piano Sonata in C, K545, end of first movement 02
348:
continued to use functional harmony including V chords.
328:
including more dissonant dominant chords through higher
312:, with similar treatment to that of the Baroque. In the
1209:, for the dominant seventh. Others include 20:25:30:36
998:
chord most often being a major triad. Examples include
624:
Beethoven
Quartet Op. 127 first movement, bars 135–139
616:
Beethoven
Quartet Op. 127 first movement, bars 135–139
204:, G would be represented as V in the key of C major.
2414:
Benward & Saker (2003), vol. 1: pp. 202–204.
2295:
Benward & Saker (2003), vol. 1: p. 201.
712:
In a diatonic context, the third of the chord is the
585:
Mozart Piano Sonata in C, K545, end of first movement
214:. The V chord is found almost as often as the V, the
2426:
Benward & Saker (2008), vol. 2: p. 343
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1221:, found on I, and 36:45:54:64, found on V, used in
233:A dominant seventh chord can be represented by the
89:
71:
35:
276:An excerpt from Monteverdi's "Lasciatemi Morire",
2256:"What is Dominant and Diminished Seventh Chords?"
2233:Bruce Benward & Marilyn Nadine Saker (2003).
2476:What to Listen for in Rock: A Stylistic Analysis
2448:Introduction to the Theory of Heinrich Schenker
2410:
2408:
2406:
2360:(London: Barrie and Rockliff), pp. 34–35.
685:
566:Mozart Piano Sonata in C , K545 opening bars 02
192:Dominant seventh chords are often built on the
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2420:
2926:
2659:
2470:
2468:
2384:
2382:
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1082:" uses the dominant seventh on I, IV, and V.
913:, resolves to the root of the I, in the bass.
747:. The dominant seventh may work as part of a
8:
652:Tritone resolutions in the last measures of
558:Mozart Piano Sonata in C , K545 opening bars
286:, clearly indicating its dissonant status."
30:
2279:Benward & Saker (2003), vol. 1: p. 199.
687:... the demand of the V for resolution is,
3315:
2952:
2933:
2919:
2911:
2691:
2666:
2652:
2644:
2552:"Intro to Barbershop: What is Barbershop?"
2349:
2347:
2174:
2172:
2170:
2506:Intro to Barbershop: What is Barbershop?
2208:
2206:
2204:
2202:
2200:
1412:
1273:
535:Inversions of the Dominant Seventh Chord
527:Inversions of the Dominant Seventh Chord
392:
237:{0, 4, 7, 10} relative to the dominant.
2640:Theory and applications for jazz guitar
2331:Tonal Harmony in Concept & Practice
2291:
2289:
2287:
2285:
2166:
2142:
1252:to maximize the audibility of harmonic
340:or was entirely free of V chords while
2180:Contemporary Music Review: Listening 2
29:
2388:Benjamin, Horvit, and Nelson (2008).
927:, "The dissonance is always passing,
308:The V was in constant use during the
222:to drive the piece strongly toward a
7:
2454:), p. 20. Translator: John Rothgeb.
675:of the dominant seventh chord is to
950:or resolution of a (hypothetical)
181:combined form a diminished fifth (
173:It's important to notice that the
25:
2390:Techniques and Materials of Music
1098:. For example, the German sixth A
824:" of the dominant seventh chord:
357:Mazurka in F minor (1849), Op. 68
334:Twentieth-century classical music
249:conceived of harmony in terms of
3299:
1896:
1571:
1367:
1324:
1242:
1177:
2504:Rose, Amy (February 2, 2017). "
1427:
1424:
1421:
1418:
1415:
909:The root of the V, when in the
709:between B and F is a tritone).
146:together with a minor seventh,
1134:(which typically resolves to D
1068:You Don't Mess Around With Jim
1:
2313:Radcliffe, P. (1965, p. 99)
2235:Music in Theory and Practice
1409:Dominant seventh chord table
1264:" by those who practice it.
1147:
893:
856:
834:
793:
728:
638:
366:
293:
158:
2523:"OnMusic Dictionary - Term"
2315:Beethoven's String Quartets
3592:
3023:Dominant seventh flat five
1234:Barbershop Harmony Society
3297:
2689:
2579:Shirlaw, Matthew (1900).
2495:Stephenson (2002), p. 75.
2333:, p. 145. Third edition.
2151:major-minor seventh chord
2121:Nondominant seventh chord
1396:Pythagorean minor seventh
1225:just tunings and scales.
1092:enharmonically equivalent
1000:Bill Haley and the Comets
120:major minor seventh chord
101:
78:
64:
57:
50:
43:
36:Component intervals from
2618:Guitar Chord Name Finder
2474:Stephenson, Ken (2002).
2358:Harmony in Western Music
1262:barbershop seventh chord
1197:, in the ratios 4:5:6:7
1193:, which is one possible
1090:The dominant seventh is
1052:I Saw Her Standing There
336:either consciously used
189:, or its instability).
3540:Chord names and symbols
2354:Goldman, Richard Franco
2178:Benitez, J. M. (1988).
1152:download the audio file
898:download the audio file
861:download the audio file
839:download the audio file
798:download the audio file
733:download the audio file
643:download the audio file
545:Piano Sonata in C, K545
371:download the audio file
326:Impressionistic periods
298:download the audio file
163:download the audio file
3423:Secondary leading-tone
2527:dictionary.onmusic.org
2304:Goldman (1965), p. 39.
2212:Wright, David (2009).
1389:Dominant seventh chord
1317:Harmonic seventh chord
1258:harmonic seventh chord
1191:harmonic seventh chord
1186:
699:
625:
617:
603:String Quartet Op. 127
594:
586:
567:
559:
536:
528:
202:Roman numeral analysis
116:dominant seventh chord
31:dominant seventh chord
2581:The Theory of Harmony
2317:. London, Hutchinson.
2214:Mathematics and Music
1985:Guitar chord diagrams
1168:septimal quarter tone
1165:
1028:Your Mama Don't Dance
1004:Rock Around the Clock
966:In blues progressions
623:
615:
592:
584:
565:
557:
534:
526:
247:Renaissance composers
3428:Secondary supertonic
2116:Irregular resolution
978:songs following the
929:never a chord member
772:(V/V, shown below),
539:The opening bars of
257:, "however, certain
1293:Tonic seventh chord
1230:barbershop quartets
1080:Rock and Roll Music
1024:Loggins and Messina
778:substitute dominant
196:(or dominant) of a
32:
3499:Chord-scale system
3418:Secondary dominant
2436:Schenker, Heinrich
2260:Liberty Park Music
1344:German sixth chord
1187:
1078:". Chuck Berry's "
1020:Back in the U.S.A.
770:secondary dominant
751:, preceded by the
749:circle progression
626:
618:
595:
587:
568:
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537:
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338:functional harmony
269:) and other early
194:fifth scale degree
82:, 20:25:30:36, or
3558:
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3472:
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3390:Chromatic mediant
3295:
3294:
3246:Viennese trichord
2908:
2907:
2903:
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2899:
2881:
2857:
2699:
2589:978-1-4510-1534-8
2484:978-0-300-09239-4
2442:, p. 24 cited in
2366:978-0-214-66680-3
2243:978-0-07-294262-0
2222:978-0-8218-4873-9
2100:
2099:
1982:
1981:
1404:
1403:
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1156:
980:blues progression
925:Heinrich Schenker
902:
865:
843:
802:
774:extended dominant
745:deceptive cadence
737:
696:Goldman, 1965: 35
658:Piano Sonata in B
647:
613:
582:
555:
524:
515:
514:
375:
302:
279:Lamento d'Arianna
271:Baroque composers
167:
108:
107:
16:(Redirected from
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3111:
3110:
3068:Harmonic seventh
3038:Diminished major
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2602:Chord calculator
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2558:. Archived from
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2529:. Archived from
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1381:Harmonic seventh
1378:
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1335:Harmonic seventh
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881:augmented fourth
877:diminished fifth
785:
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498:
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393:
351:An excerpt from
310:Classical period
245:The majority of
235:integer notation
218:, and typically
179:subdominant note
142:. Thus it is a
126:, composed of a
103:
94:
33:
21:
18:Dominant seventh
3591:
3590:
3586:
3585:
3584:
3582:
3581:
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3571:Dominant chords
3561:
3560:
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3554:
3523:
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3404:
3366:
3304:
3291:
3282:Synthetic chord
3250:
3221:Northern lights
3186:Complexe sonore
3164:
3150:Augmented sixth
3138:
3136:
3126:
3108:
3107:
3101:Upper structure
3072:
3058:Altered seventh
3053:Augmented minor
3048:Augmented major
3033:Half-diminished
2989:
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2672:
2638:Dominant Chords
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2503:
2499:
2494:
2490:
2473:
2466:
2434:
2430:
2425:
2418:
2413:
2404:
2387:
2372:
2352:
2345:
2325:
2321:
2312:
2308:
2303:
2299:
2294:
2283:
2278:
2274:
2265:
2263:
2254:
2253:
2249:
2232:
2228:
2216:, pp. 140–141.
2211:
2198:
2177:
2168:
2163:
2158:
2157:
2148:
2144:
2139:
2131:Mixolydian mode
2106:
2101:
2068:Dominant 7 Sus4
2062:
2035:Dominant 7 Sus2
2029:
1991:standard tuning
1987:
1972:
1971:
1964:
1963:
1948:
1947:
1934:
1933:
1926:
1925:
1916:
1915:
1907:
1906:
1895:
1888:
1887:
1880:
1879:
1864:
1863:
1848:
1847:
1840:
1839:
1829:
1828:
1821:
1820:
1811:
1810:
1803:
1802:
1794:
1793:
1786:
1785:
1778:
1777:
1750:
1749:
1742:
1741:
1734:
1733:
1726:
1725:
1718:
1717:
1705:
1704:
1697:
1696:
1689:
1688:
1681:
1680:
1671:
1670:
1643:
1642:
1627:
1626:
1619:
1618:
1608:
1607:
1600:
1599:
1590:
1589:
1582:
1581:
1570:
1563:
1562:
1555:
1554:
1539:
1538:
1522:
1521:
1514:
1513:
1503:
1502:
1495:
1494:
1482:
1481:
1473:
1472:
1465:
1464:
1457:
1456:
1447:
1446:
1411:
1375:
1374:
1366:
1364:
1359:
1358:
1356:
1350:
1349:
1347:
1323:
1321:
1300:
1299:
1297:
1270:
1250:just intonation
1241:
1214:
1212:
1211:
1210:
1202:
1200:
1199:
1198:
1178:
1172:
1171:
1158:
1157:
1155:
1136:
1135:
1130:
1129:
1124:
1123:
1118:
1117:
1112:
1111:
1106:
1105:
1100:
1099:
1088:
968:
904:
903:
901:
867:
866:
864:
845:
844:
842:
815:common practice
811:
804:
803:
801:
782:
781:
739:
738:
736:
698:
695:
683:note or chord.
669:
668:
667:
660:
659:
650:
649:
648:
646:
631:
608:
577:
570:The concluding
550:
519:
508:
505:
504:
503:
496:
493:
492:
491:
477:
474:
473:
472:
466:
463:
462:
461:
447:
444:
443:
442:
436:
433:
432:
431:
405:Macro analysis
389:
384:
377:
376:
374:
314:Romantic period
304:
303:
301:
243:
212:classical music
169:
168:
166:
28:
23:
22:
15:
12:
11:
5:
3589:
3587:
3579:
3578:
3576:Seventh chords
3573:
3563:
3562:
3556:
3555:
3553:
3552:
3547:
3545:List of chords
3542:
3537:
3531:
3529:
3525:
3524:
3522:
3521:
3516:
3511:
3506:
3501:
3496:
3491:
3486:
3480:
3478:
3474:
3473:
3470:
3469:
3467:
3466:
3461:
3456:
3451:
3446:
3440:
3438:
3434:
3433:
3431:
3430:
3425:
3420:
3414:
3412:
3406:
3405:
3403:
3402:
3397:
3392:
3387:
3382:
3376:
3374:
3368:
3367:
3365:
3364:
3355:
3350:
3345:
3340:
3335:
3330:
3324:
3322:
3313:
3306:
3305:
3298:
3296:
3293:
3292:
3290:
3289:
3284:
3279:
3274:
3269:
3264:
3262:Mixed interval
3258:
3256:
3252:
3251:
3249:
3248:
3243:
3238:
3233:
3228:
3223:
3218:
3213:
3208:
3203:
3198:
3193:
3188:
3183:
3178:
3172:
3170:
3166:
3165:
3163:
3162:
3157:
3152:
3147:
3141:
3139:
3131:
3128:
3127:
3125:
3124:
3119:
3114:
3103:
3098:
3093:
3088:
3082:
3080:
3074:
3073:
3071:
3070:
3065:
3060:
3055:
3050:
3045:
3040:
3035:
3030:
3025:
3020:
3015:
3010:
3005:
2999:
2997:
2991:
2990:
2988:
2987:
2982:
2977:
2972:
2967:
2961:
2959:
2950:
2946:
2945:
2940:
2938:
2937:
2930:
2923:
2915:
2906:
2905:
2901:
2900:
2882:
2864:
2861:
2858:
2840:
2837:
2833:
2832:
2821:
2819:
2808:
2806:
2787:
2785:
2778:
2776:
2769:
2767:
2744:
2742:
2731:
2729:
2722:
2719:
2718:
2715:
2712:
2709:
2706:
2703:
2700:
2690:
2687:
2686:
2683:diatonic scale
2673:
2671:
2670:
2663:
2656:
2648:
2642:
2641:
2633:
2632:External links
2630:
2627:
2626:
2610:
2593:
2572:
2543:
2514:
2510:BarberShop.org
2497:
2488:
2464:
2428:
2416:
2402:
2370:
2343:
2319:
2306:
2297:
2281:
2272:
2247:
2226:
2196:
2165:
2164:
2162:
2159:
2156:
2155:
2141:
2140:
2138:
2135:
2134:
2133:
2128:
2123:
2118:
2113:
2110:Dominant ninth
2105:
2102:
2098:
2097:
2093:
2092:
2089:
2086:
2083:
2080:
2077:
2074:
2064:
2060:
2059:
2056:
2053:
2050:
2047:
2044:
2041:
2031:
2027:
2026:
2023:
2020:
2017:
2014:
2011:
2008:
1995:
1986:
1983:
1980:
1979:
1976:
1968:
1960:
1957:
1953:
1952:
1944:
1941:
1938:
1930:
1921:
1920:
1912:
1903:
1892:
1884:
1875:
1874:
1871:
1868:
1860:
1857:
1853:
1852:
1844:
1836:
1833:
1825:
1816:
1815:
1807:
1799:
1790:
1782:
1773:
1772:
1769:
1766:
1763:
1760:
1756:
1755:
1746:
1738:
1730:
1722:
1713:
1712:
1709:
1701:
1693:
1685:
1676:
1675:
1667:
1664:
1661:
1658:
1654:
1653:
1650:
1647:
1639:
1636:
1632:
1631:
1623:
1615:
1612:
1604:
1595:
1594:
1586:
1578:
1567:
1559:
1550:
1549:
1546:
1543:
1535:
1532:
1528:
1527:
1518:
1510:
1507:
1499:
1490:
1489:
1486:
1478:
1469:
1461:
1452:
1451:
1443:
1440:
1437:
1434:
1430:
1429:
1428:Minor seventh
1426:
1425:Perfect fifth
1423:
1420:
1417:
1410:
1407:
1406:
1405:
1402:
1401:
1398:
1393:
1390:
1386:
1385:
1382:
1379:
1345:
1341:
1340:
1337:
1332:
1318:
1314:
1313:
1310:
1305:
1294:
1290:
1289:
1286:
1283:
1278:
1269:
1266:
1160:
1159:
1149:
1146:
1144:
1087:
1086:Related chords
1084:
1040:Little Richard
967:
964:
963:
962:
959:
948:
947:
944:
921:
920:
917:
914:
907:
906:
905:
895:
892:
890:
873:
870:
869:
868:
858:
855:
853:
848:
847:
846:
836:
833:
831:
810:
807:
806:
805:
795:
792:
790:
741:
740:
730:
727:
725:
693:
651:
640:
637:
635:
634:
633:
632:
630:
627:
517:
516:
513:
512:
506:
500:
494:
488:
485:
481:
480:
475:
469:
464:
458:
455:
451:
450:
445:
439:
434:
428:
425:
421:
420:
417:
414:
411:
407:
406:
403:
402:Roman numerals
400:
397:
388:
385:
383:
380:
379:
378:
368:
365:
363:
346:popular musics
306:
305:
295:
292:
290:
242:
239:
216:dominant triad
171:
170:
160:
157:
155:
106:
105:
99:
98:
87:
86:
76:
75:
69:
68:
62:
61:
55:
54:
48:
47:
41:
40:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3588:
3577:
3574:
3572:
3569:
3568:
3566:
3551:
3548:
3546:
3543:
3541:
3538:
3536:
3533:
3532:
3530:
3526:
3520:
3517:
3515:
3512:
3510:
3507:
3505:
3502:
3500:
3497:
3495:
3492:
3490:
3487:
3485:
3482:
3481:
3479:
3475:
3465:
3462:
3460:
3457:
3455:
3454:Primary triad
3452:
3450:
3447:
3445:
3442:
3441:
3439:
3435:
3429:
3426:
3424:
3421:
3419:
3416:
3415:
3413:
3411:
3407:
3401:
3398:
3396:
3393:
3391:
3388:
3386:
3383:
3381:
3378:
3377:
3375:
3373:
3369:
3363:
3359:
3356:
3354:
3351:
3349:
3346:
3344:
3341:
3339:
3336:
3334:
3331:
3329:
3326:
3325:
3323:
3321:
3317:
3314:
3312:
3307:
3302:
3288:
3285:
3283:
3280:
3278:
3275:
3273:
3270:
3268:
3265:
3263:
3260:
3259:
3257:
3253:
3247:
3244:
3242:
3239:
3237:
3234:
3232:
3229:
3227:
3224:
3222:
3219:
3217:
3214:
3212:
3209:
3207:
3204:
3202:
3199:
3197:
3194:
3192:
3189:
3187:
3184:
3182:
3179:
3177:
3174:
3173:
3171:
3167:
3161:
3158:
3156:
3153:
3151:
3148:
3146:
3143:
3142:
3140:
3134:
3129:
3123:
3120:
3118:
3115:
3113:
3104:
3102:
3099:
3097:
3094:
3092:
3089:
3087:
3084:
3083:
3081:
3079:
3075:
3069:
3066:
3064:
3061:
3059:
3056:
3054:
3051:
3049:
3046:
3044:
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3021:
3019:
3016:
3014:
3011:
3009:
3006:
3004:
3001:
3000:
2998:
2996:
2992:
2986:
2983:
2981:
2978:
2976:
2973:
2971:
2968:
2966:
2963:
2962:
2960:
2958:
2954:
2951:
2947:
2943:
2936:
2931:
2929:
2924:
2922:
2917:
2916:
2913:
2898:(Major/Minor)
2883:
2880:(Major/Minor)
2865:
2862:
2859:
2856:(Major/Minor)
2841:
2838:
2835:
2834:
2830:
2829:
2825:
2820:
2817:
2816:
2812:
2807:
2804:
2803:
2799:
2795:
2791:
2786:
2783:
2782:
2777:
2774:
2773:
2768:
2765:
2764:
2760:
2756:
2752:
2748:
2743:
2740:
2739:
2735:
2730:
2727:
2726:
2721:
2720:
2716:
2713:
2710:
2707:
2704:
2701:
2698:(Major/Minor)
2694:
2693:
2688:
2684:
2680:
2676:
2669:
2664:
2662:
2657:
2655:
2650:
2649:
2646:
2639:
2636:
2635:
2631:
2623:
2619:
2614:
2611:
2607:
2603:
2597:
2594:
2590:
2586:
2582:
2576:
2573:
2562:on 2024-01-13
2561:
2557:
2553:
2547:
2544:
2533:on 2024-01-13
2532:
2528:
2524:
2518:
2515:
2511:
2507:
2501:
2498:
2492:
2489:
2485:
2481:
2477:
2471:
2469:
2465:
2461:
2460:0-582-28227-6
2457:
2453:
2449:
2445:
2444:Jonas, Oswald
2441:
2437:
2432:
2429:
2423:
2421:
2417:
2411:
2409:
2407:
2403:
2399:
2398:0-495-50054-2
2395:
2392:, pp. 46–47.
2391:
2385:
2383:
2381:
2379:
2377:
2375:
2371:
2367:
2363:
2359:
2355:
2350:
2348:
2344:
2340:
2339:0-03-020756-8
2336:
2332:
2328:
2323:
2320:
2316:
2310:
2307:
2301:
2298:
2292:
2290:
2288:
2286:
2282:
2276:
2273:
2261:
2257:
2251:
2248:
2244:
2240:
2236:
2230:
2227:
2223:
2219:
2215:
2209:
2207:
2205:
2203:
2201:
2197:
2193:
2189:
2188:3-7186-4846-6
2185:
2181:
2175:
2173:
2171:
2167:
2160:
2152:
2149:Also written
2146:
2143:
2136:
2132:
2129:
2127:
2124:
2122:
2119:
2117:
2114:
2111:
2108:
2107:
2103:
2096:
2090:
2087:
2084:
2081:
2078:
2075:
2072:
2071:
2070:
2069:
2065:
2063:
2057:
2054:
2051:
2048:
2045:
2042:
2039:
2038:
2037:
2036:
2032:
2030:
2024:
2021:
2018:
2015:
2012:
2009:
2006:
2005:
2004:
2003:
1999:
1998:
1994:
1992:
1984:
1977:
1969:
1961:
1958:
1955:
1954:
1945:
1942:
1939:
1931:
1923:
1922:
1913:
1904:
1899:
1893:
1885:
1877:
1876:
1872:
1869:
1861:
1858:
1855:
1854:
1845:
1837:
1834:
1826:
1818:
1817:
1808:
1800:
1791:
1783:
1775:
1774:
1770:
1767:
1764:
1761:
1758:
1757:
1747:
1739:
1731:
1723:
1715:
1714:
1710:
1702:
1694:
1686:
1678:
1677:
1668:
1665:
1662:
1659:
1656:
1655:
1651:
1648:
1640:
1637:
1634:
1633:
1624:
1616:
1613:
1605:
1597:
1596:
1587:
1579:
1574:
1568:
1560:
1552:
1551:
1547:
1544:
1536:
1533:
1530:
1529:
1519:
1511:
1508:
1500:
1492:
1491:
1487:
1479:
1470:
1462:
1454:
1453:
1444:
1441:
1438:
1435:
1432:
1431:
1414:
1408:
1399:
1397:
1394:
1391:
1388:
1387:
1383:
1380:
1370:
1346:
1343:
1342:
1338:
1336:
1333:
1327:
1319:
1316:
1315:
1311:
1309:
1308:Minor seventh
1306:
1295:
1292:
1291:
1287:
1284:
1282:
1279:
1276:
1275:
1272:
1271:
1267:
1265:
1263:
1259:
1255:
1251:
1245:
1239:
1235:
1231:
1226:
1224:
1217:
1205:
1196:
1192:
1169:
1164:
1153:
1143:
1142:
1141:
1097:
1093:
1085:
1083:
1081:
1077:
1073:
1069:
1065:
1061:
1057:
1053:
1049:
1045:
1041:
1037:
1033:
1029:
1025:
1021:
1017:
1013:
1009:
1005:
1001:
997:
993:
989:
985:
981:
977:
976:popular music
973:
965:
960:
957:
956:
955:
953:
945:
942:
941:
940:
938:
934:
933:Zusammenklang
930:
926:
923:According to
918:
915:
912:
908:
899:
889:
888:
886:
882:
878:
874:
871:
862:
852:
851:
849:
840:
830:
829:
827:
826:
825:
823:
819:
818:voice leading
816:
809:Voice leading
808:
799:
789:
788:
787:
786:V/V) chords.
779:
776:(V/V/V), and
775:
771:
767:
763:
762:
756:
754:
750:
746:
734:
724:
723:
722:
720:
715:
710:
708:
704:
692:
690:
684:
682:
678:
674:
665:
664:major, Op. 22
655:
644:
628:
622:
606:
604:
600:
591:
575:
573:
564:
548:
546:
542:
533:
501:
489:
486:
483:
482:
470:
459:
456:
453:
452:
440:
429:
426:
423:
422:
418:
415:
412:
410:Root position
409:
408:
404:
401:
398:
395:
394:
391:
390:
386:
381:
372:
362:
361:
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335:
331:
327:
323:
322:post-Romantic
319:
318:voice-leading
315:
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140:minor seventh
137:
136:perfect fifth
133:
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125:
124:seventh chord
121:
117:
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100:
97:
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88:
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81:
77:
74:
70:
67:
63:
60:
56:
53:
52:perfect fifth
49:
46:
45:minor seventh
42:
39:
34:
27:Musical chord
19:
3358:Leading-tone
3135: /
3122:Tone cluster
3017:
3003:Leading-tone
2822:
2814:
2811:Leading-tone
2809:
2788:
2779:
2770:
2745:
2732:
2723:
2621:
2613:
2605:
2596:
2580:
2575:
2564:. Retrieved
2560:the original
2555:
2546:
2535:. Retrieved
2531:the original
2526:
2517:
2509:
2500:
2491:
2475:
2451:
2447:
2439:
2431:
2389:
2357:
2330:
2327:Forte, Allen
2322:
2314:
2309:
2300:
2275:
2264:. Retrieved
2262:. 2017-10-03
2259:
2250:
2234:
2229:
2213:
2179:
2150:
2145:
2094:
2067:
2066:
2061:
2034:
2033:
2028:
2001:
2000:
1988:
1422:Major third
1400:36:45:54:64
1312:20:25:30:36
1238:scale degree
1227:
1188:
1170:lower than B
1096:German sixth
1089:
1072:The Drifters
1036:Roll With It
1014:", while in
1008:Buster Brown
969:
949:
937:passing note
932:
928:
922:
812:
759:
757:
742:
714:leading-tone
711:
700:
688:
686:
670:
596:
569:
538:
350:
307:
277:
275:
253:rather than
244:
232:
230:of the key.
209:
206:
191:
175:leading note
172:
119:
115:
112:music theory
109:
102:4-27 /
3343:Subdominant
3206:Grandmother
3063:Nondominant
3043:Minor-major
2772:Subdominant
2606:JGuitar.com
2440:Jahrbuch II
1240:, not just
1232:, with the
1195:just tuning
1076:On Broadway
1048:The Beatles
1016:Chuck Berry
994:) with the
820:or "strict
755:chord, ii.
689:to our ears
399:Bottom note
267:preparation
144:major triad
132:major third
84:36:45:54:64
59:major third
3565:Categories
3477:Techniques
3464:Substitute
3459:Subsidiary
3395:Neapolitan
3353:Submediant
3333:Supertonic
3106:Dominant 7
3096:Thirteenth
3028:Diminished
2980:Diminished
2790:Submediant
2734:Supertonic
2622:Gootar.com
2566:2024-01-13
2537:2024-01-13
2266:2024-01-30
2161:References
2002:Dominant 7
992:extensions
952:suspension
822:resolution
753:supertonic
387:Inversions
330:extensions
284:suspension
263:Monteverdi
224:resolution
96:Complement
3494:Chordioid
3410:Secondary
3226:Petrushka
3160:Seven six
3117:Polychord
2985:Suspended
2975:Augmented
2717:vii / VII
2705:iii / III
2679:functions
2583:, p. 86.
2478:, p. 82.
2182:, p. 34.
2091:G: 330011
2088:F: 111311
2085:E: 020200
2082:D: xx0013
2079:C: x35363
2076:B: x24252
2073:A: x00030
2058:G: 303033
2055:F: xx3543
2052:E: x79777
2049:D: x57555
2046:C: x30333
2043:B: x24222
2040:A: x02000
2025:G: 320001
2022:F: 131211
2019:E: 020100
2016:D: xx0212
2013:C: x3231x
2010:B: x21202
2007:A: x02020
1254:overtones
1064:Jim Croce
1012:Fanny Mae
761:chromatic
654:Beethoven
599:Beethoven
419:in C: G7
396:Inversion
259:dissonant
251:intervals
220:functions
91:Forte no.
3535:Arpeggio
3449:Contrast
3385:Borrowed
3380:Approach
3362:Subtonic
3348:Dominant
3320:Diatonic
3311:function
3267:Secundal
3169:Specific
3109:♯
3091:Eleventh
3078:Extended
3018:Dominant
2893:♭
2887:♮
2875:♭
2869:♮
2851:♭
2845:♮
2824:Subtonic
2781:Dominant
2446:(1982).
2356:(1965),
2329:(1979).
2190:. Cites
2126:Subtonic
2104:See also
1973:♯
1965:♯
1949:♭
1935:♭
1927:♭
1917:♯
1908:♯
1889:♯
1881:♯
1865:♯
1849:♭
1841:♭
1830:♭
1822:♭
1812:♯
1804:♯
1795:♯
1787:♯
1779:♯
1751:♭
1743:♭
1735:♭
1727:♭
1719:♭
1706:♯
1698:♯
1690:♯
1682:♯
1672:♭
1644:♯
1628:♭
1620:♭
1609:♭
1601:♭
1591:♯
1583:♯
1564:♯
1556:♯
1540:♯
1523:♭
1515:♭
1504:♭
1496:♭
1483:♯
1474:♯
1466:♯
1458:♯
1448:♭
1384:4:5:6:7
1376:♭
1360:♭
1351:♭
1339:4:5:6:7
1301:♭
1281:Notation
1173:♭
1137:♭
1131:♭
1125:♭
1119:♭
1113:♯
1107:♭
1101:♭
885:stepwise
783:♭
766:modulate
707:interval
694:—
673:function
661:♭
629:Function
316:, freer
177:and the
93: /
3400:Passing
3372:Altered
3338:Mediant
3277:Quartal
3272:Tertian
3255:General
3241:Tristan
3236:So What
3196:Elektra
3137:omitted
2995:Seventh
2949:By form
2747:Mediant
2714:vi / VI
2708:IV / iv
2702:ii / ii
2681:of the
2675:Degrees
2450:(1934:
2194:(1764).
1392:G B D F
1288:Ratios
1285:Seventh
1223:5-limit
1094:to the
1070:", and
1060:Coconut
1056:Nilsson
1044:Lucille
961:(4) 5 1
958:(8) 7 3
719:cadence
703:tritone
679:to the
677:resolve
666:(1800).
572:cadence
502:in C: G
471:in C: G
441:in C: G
413:root: 5
241:History
226:to the
187:harmony
183:tritone
148:denoted
122:, is a
80:4:5:6:7
3550:Factor
3504:Guitar
3444:Common
3287:Tetrad
3231:Psalms
3216:Mystic
3201:Farben
3181:Bridge
3155:Lydian
2942:Chords
2587:
2482:
2458:
2396:
2364:
2337:
2241:
2220:
2186:
2112:, etc.
2095:
1416:Chord
1320:G B D
1296:C E G
1268:Tuning
1022:" and
1006:" and
982:, the
541:Mozart
487:7th: 4
457:5th: 2
454:Second
427:3rd: 7
353:Chopin
255:chords
138:, and
73:Tuning
3528:Other
3519:Slash
3514:Power
3489:Block
3484:Barre
3437:Other
3328:Tonic
3211:Magic
3191:Dream
3176:Alpha
3145:Sixth
3133:Added
3086:Ninth
3013:Minor
3008:Major
2970:Minor
2965:Major
2957:Triad
2725:Tonic
2711:V / v
2695:I / i
2192:Euler
2137:Notes
1419:Root
1277:Chord
1032:Oasis
996:tonic
946:5 5 1
943:8 7 3
681:tonic
511:or G
484:Third
424:First
228:tonic
118:, or
3509:Open
2763:(Sp)
2677:and
2585:ISBN
2480:ISBN
2456:ISBN
2394:ISBN
2362:ISBN
2335:ISBN
2239:ISBN
2218:ISBN
2184:ISBN
1911:(F)
1902:(D)
1798:(C)
1754:(E)
1577:(G)
1526:(B)
1477:(F)
1215:Play
1203:Play
1122:–C–E
1104:–C–E
1066:'s "
1058:'s "
1042:'s "
1026:'s "
1018:'s "
1010:'s "
986:and
974:and
972:rock
911:bass
875:The
813:For
671:The
499:or V
344:and
342:jazz
324:and
128:root
114:, a
104:8-27
66:root
38:root
3309:By
2890:/ B
2872:/ A
2848:/ E
2802:tCp
2755:Tkp
2604:",
2508:",
1989:In
1140:):
1074:' "
1062:",
1054:",
1050:' "
1046:",
1034:' "
1002:' "
970:In
656:'s
601:’s
543:’s
382:Use
355:'s
198:key
110:In
3567::
3360:/
2828:dP
2815:D̸
2800:,
2798:sP
2796:,
2794:Tp
2761:,
2759:tP
2757:,
2753:,
2751:Dp
2738:Sp
2620:,
2554:.
2525:.
2467:^
2438:.
2419:^
2405:^
2373:^
2346:^
2284:^
2258:.
2199:^
2169:^
1978:A
1959:B
1956:B
1943:F
1940:D
1873:G
1870:E
1859:A
1856:A
1835:C
1771:F
1768:D
1765:B
1762:G
1759:G
1711:E
1666:C
1663:A
1660:F
1657:F
1652:D
1649:B
1638:E
1635:E
1614:G
1548:C
1545:A
1534:D
1531:D
1509:F
1488:B
1442:G
1439:E
1436:C
1433:C
1355:C
1128:–G
1110:–F
984:IV
954::
939::
721:.
416:V7
134:,
130:,
3112:9
2934:e
2927:t
2920:v
2884:B
2866:A
2863:G
2860:F
2842:E
2839:D
2836:C
2667:e
2660:t
2653:v
2624:.
2608:.
2600:"
2591:.
2569:.
2540:.
2512:.
2486:.
2462:.
2400:.
2368:.
2341:.
2269:.
2245:.
2224:.
2153:.
1970:F
1962:D
1946:A
1932:B
1924:B
1914:G
1905:E
1894:C
1886:A
1878:A
1862:C
1846:G
1838:E
1827:A
1819:A
1809:F
1801:D
1792:B
1784:G
1776:G
1748:F
1740:D
1732:B
1724:G
1716:G
1703:C
1695:A
1687:F
1679:F
1669:E
1641:G
1625:D
1617:B
1606:E
1598:E
1588:C
1580:A
1569:F
1561:D
1553:D
1537:F
1520:C
1512:A
1501:D
1493:D
1480:G
1471:E
1463:C
1455:C
1445:B
1365:G
1357:E
1348:A
1330:+
1322:F
1298:B
1176:.
1154:.
988:V
931:(
900:.
863:.
841:.
800:.
780:(
735:.
645:.
507:2
495:2
490:V
476:3
465:3
460:V
446:5
435:5
430:V
373:.
300:.
165:.
20:)
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