Dominant Sevenths



 

Lesson 17

March 22nd, 2021

Lesson 17

Lecture notes:
  • The dominant seventh chord contains two tendency notes, including the leading tone and the chordal seventh.
  • In a dominant seventh chord, the third degree of that chord is the leading tone for the tonic chord, which would resolve up to the tonic note (7-1).
  • In a dominant seventh chord, the seventh degree, also known as the chordal seventh, is the tonic chord's fourth degree. This note would resolve down to the third degree of the tonic chord (4-3).
  • The two predominant chords that lead to the dominant chord are the minor second and the perfect fourth. The basic phrase model would look like (T-PD-D-T) whenever used.
  • Parallel fifths are easy to occur. An excellent way to avoid this is by omitting a note in either the dominant seventh chord or the tonic chord. The note that can be left out of either chord is the fifth-degree note. 
  • Root position (7) and second inversion (4/3) dominant seventh chords can resolve to a root position or first inversion tonic chord because there isn't a tendency note in the bass.
  • First inversion (6/5) chords MUST resolve to the root position tonic chord because the leading tone is in the base.
  • Third inversion (4/2) dominant seventh chords resolve to the first inversion tonic chord (6).

The photo above shows a dominant seventh chord resolving to the tonic chord in C Major.


The above photo shows the letters that make up the dominant seventh chords for all the scales.


The video above explains how to resolve a dominant seventh chord to the tonic chord.


The video above shows how to resolve the dominant seventh chord to the tonic chord.


The photo above shows a total of five dominant seventh scales that I wrote out to play.


The above video is me playing the arpeggios from the photo mentioned above.

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