Dominant Seventh Chord

In music theory, a dominant seventh chord, or major minor seventh chord, is a chord composed of a root, major third, perfect fifth, and minor seventh. It can be also viewed as a major triad with an additional minor seventh. It is denoted using popular music symbols by adding a superscript "7" after the letter designating the chord root. The dominant seventh is found almost as often as the dominant triad. In Roman numerals it is represented as V7. The chord can be represented by the integer notation {0, 4, 7, 10}.

dominant seventh chord
Component intervals from root
minor seventh
perfect fifth
major third
root
Forte number or Tuning
20:25:30:36

Of all the seventh chords, perhaps the most important is the dominant seventh. It was the first seventh chord to appear regularly in classical music. The name comes from the fact that it occurs naturally in the seventh chord built upon the dominant (i.e. the fifth degree) of a given major diatonic scale. Take for example the C major scale (C, D, E, F, G, A, B, C):

The note G is the dominant degree of C major - its fifth note. When we arrange the notes of the C major scale in ascending pitch and use only these notes to build a seventh chord, and we start with G (not C), then the resulting chord contains the four notes G-B-D-F and is called G dominant seventh (G7). The note F is a minor seventh from G, and it is also called the dominant seventh with respect to G. However, the 'dominant' seventh is used on notes other than the dominant, such as the subdominant.

Read more about Dominant Seventh Chord:  Function, History, Voice Leading, Dominant Seventh Chord Table

Famous quotes containing the words dominant, seventh and/or chord:

    The dominant metaphor of conceptual relativism, that of differing points of view, seems to betray an underlying paradox. Different points of view make sense, but only if there is a common co-ordinate system on which to plot them; yet the existence of a common system belies the claim of dramatic incomparability.
    Donald Davidson (b. 1917)

    My bangles left.
    My best friends, tears,
    went on forever.
    My self-control
    wouldn’t sit still for a minute.
    My mind made itself up
    to go on ahead.
    When my man
    made up his mind to go,
    everything else went,
    just like him.
    Life,
    if you must go, too,
    then don’t forsake
    your entourage of friends.
    Amaru (c. seventh century A.D.)

    Love took up the glass of Time, and turned it in his glowing hands;
    Every moment, lightly shaken, ran itself in golden sands.
    Love took up the harp of Life, and smote on all the chords with
    might;
    Smote the chord of Self, that, trembling, passed in music out of sight.
    Alfred Tennyson (1809–1892)