Dominate 7
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Dominate 7
July 27, 2022 August 13, 2021 by Marty
My name’s Marty. I’ve been into guitars, songwriting, and home recording for over 30 years. Theacousticguitarist.com is my blog where I write about everything I have learned along the way.
Ever tried learning a new song, only to see a 7 written beside a chord that you would otherwise have known how to play? While there are 4 other (common types) of 7th chords, in most cases, the 7 refers to the chord being a dominant 7th chord , also written as dom7 . In today’s article, we’re going to discuss dominant 7th chords, what they are, how they are built, why they sound bluesy (in the correct context), and how you can incorporate them into your playing.
But if looking for a quick summary: A dominant 7th chord is a chord with the same structure as a major triad (1st, 3rd, and 5th scale degrees of the major scale) along with a flattened 7th scale degree. While around longer than blues music, dominant 7th chords are synonymous with blues, due to the interplay between major and minor which creates tension/dissonance.
The interval between the 3rd and 7th also happens to be a tritone (aka the devil’s interval, a particularly dissonant sounding interval comprised of 6 semitones), combined with the minor 7th, gives dominant 7th chords that bluesy sound.
This article is part of a larger series on 7th chords and includes the following articles:
Here’s a quick audio clip demonstrating an A Major triad in open position followed by an A Dominant 7th chord, also in open po sition.
As you can hear, the combination of Major and minor gives the chord added dissonance making it sound bluesy and really pulling us toward the tonic chord to resolve.
Click here to compare the sound of a dominant 7th chord to that of a major 7th chord, which only differs by one semitone e.g. the minor 7th interval is replaced with a Major 7th.
Dominant 7th chords consist of a root, major third, perfect fifth, and a minor seventh, which is an interval of 10 semitones above the root note. If you aren’t familiar with guitar theory or intervals you can read more here .
Based on this, the notes that make up an A7 chord are A , C♯ , E , and G
The easiest way to think of this is that 7th chords are major chords with an added note 10 semitones above the root, or two semitones (a whole tone) below the root, played in a higher octave.
In case unfamiliar with the shorthand used for naming intervals. P is short for Perfect e.g. P5 is an interval of a perfect 5th (7 semitones above the root), while the small ‘m’ indicates a minor interval e.g. m7 is a minor 7th interval (10 semitones) while an M7 is a major 7th interval (11 semitones).
If referring to dominant 7th chords by scale degrees our formula would include the 1, 3, 5, and 7th note of the major scale, however, the 7th scale degree is flattened by a semitone (1 – 3 – 5 – b7) making it a minor 7th interval.
Dominant 7th chords are usually built on the 5th scale degree of a particular key. As a result, you also see them referred to as V7 e.g. the V chord in the key of A is E, and E Major in this context can be substituted with an E dom 7 chords.
I – A major, A major seventh (Amaj, Amaj7) ii – B minor, B minor seventh (Bm, Bm7) iii – C sharp minor, C# minor seventh (C#m, C#m7) IV – D major, D major seventh (D, Dmaj 7) V – E major, E dominant seventh (E, E7) vi – F sharp minor, F# minor seventh (F#m, F#m7) vii° – G# diminished, G# minor seventh flat five (G#°, G#m7b5)
In a diatonic scale (a 7 note scale built on 5 whole steps and 2 half steps) each note is referred to as a scale degree, and each has a scale degree name that indicates its function.
For example, the mediant (Latin for ‘middle’), suggests the scale degree is near the middle of the scale.
You may have noticed this naming system more when referring to chords e.g. I, IV, V chord progressions. * Note the systems used capitals to indicate major chords and lower case to indicate minor chords.
The I chord is the tonic (1st chord), the IV chord is the subdominant, indicating the progression is moving away from the tonic while the V chord or dominant wants to resolve back to the tonic.
In the table above E is the 5th scale degree and therefore dominant. Don’t be fooled by the name however, dominant doesn’t mean it is the most important scale degree, it isn’t the scale degree or chord that dominates, it is however the next most important scale degree from the tonic (starting note).
Alternatively, going back to our A7 example., A7 would be dominant in the key of D.
If you know your major scale , to play a dominant 7th chord, simply add a note two semitones (2 frets) lower than the root but in the next highest octave.
In the case of the A7 chord we’ve been using as an example, this would mean simply adding the G by fretting the high E string (6th string) at the 3rd fret, or removing the finger from the 2nd fret G string, so it plays as an open string substituting our second A for a G.
Below are voicings for the dominant 7th chords in open position. If you need to brush up on how to read chord charts, click here .
While you might see one or the other used interchangeably, enharmonic notes (sharps and flats) are musical equivalents (in most contexts). When referring to diatonic scales, each letter name is represented. So rather than repeating a note with a sharp or flat symbol, it’s more obvious to use the next letter in the sequence.
Incorrect (letter names are repeated): A, B, D♭, D, E, G♭, and G♯ Correct (letter names are not repeated) A, B, C♯, D, E, F♯, and G♯
So why would a C7 chord contain an A♭ and not a G♯? considering the C major scale has no sharps or flats? Remember earlier when we discussed dominant 7th chords as being the dominant chord e.g. built from the 5th scale degree. This means C7 is actually the dominant chord in the key of F. The F major scale contains the following notes:
F Major Scale : F, G, A, B ♭ , C, D, and E
You will also see an E♭included in our F7 chord as F is the dominant note of the B♭Major scale.
Don’t sweat it if you see chord charts online that use all sharps, it’s become more common when illustrating guitar chords.
Once open chords are mastered, guitarists will usually expand their chord repertoire with more expansive chords, including sus chords and 7th chords. For the most part, these are fairly simple shapes to learn but applying them can be more difficult.
As discussed above, dominant 7th chords are usually played as a V chord in a chord progression, as a way to build tension before resolving to the tonic chord, but can also be used as a substitute for each chord of a 12 bar blues. So if playing in the key of E for example, instead of playing the I chord as E Major try substituting with an E dom 7 chord, likewise for the IV chord (A7) and V chord (B7).
Learning different chord types, including 7th and extended chords, allows you to incorporate elements such as dissonance and consonance (harmonic agreement) into your playing. This delicate balance between tension and release when used effectively makes music more engaging and compelling.
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Subtonic (minor), Leading Tone (Major)
Subtonic (minor), Leading Tone (Major)
Espie Estrella is a lyricist, songwriter, and member of the Nashville Songwriters Association International.
What Are Major and Minor 7ths and How Are They Formed?
What Are Diminished and Augmented Triads?
Minor Scales: Natural, Harmonic, and Melodic
Minor Triad Chords for Piano: Flats
Diminished and Half-Diminished 7th Chords on Piano
Minor Triad Chords for Piano: Sharps
Introduction to Major and Minor Piano Scales
Learning 7th Barre Chords and Chord Inversions on Guitar
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A dominant 7th uses the symbol of a note name + 7 — for example C7 , D7, E7, etc.
It is different from the symbol used for a major 7th which is maj7. A dominant 7th is not the same as a major 7th chord. But, to form a dominant 7th, you must know how to form a major 7th chord first because these two types of chords are related.
A major 7th chord is formed by playing the root (1st) + 3rd + 5th + 7th notes of a major scale . A dominant 7th is formed by simply lowering the 7th note a half step .
As an example, Cmaj7 = C - E - G - B (7th note). Lower the 7th note a half step, from B to Bb, thus Dominant 7th = C - E - G - Bb.
Here are the dominant 7th chords in every key:
Scale: .. major blues natural minor harmonic minor melodic minor chromatic major pentatonic minor pentatonic
Key signature: .. major natural minor harmonic minor melodic minor
Mode: .. ionian dorian phrygian lydian mixolydian aeolian locrian
Chord: .. triad:augmented triad:diminished triad triad:major triad:minor triad:sus2 triad:sus4 6th:major 6th:minor 7th:augmented 7th:augmented-major 7th 7th:half-diminished 7th:diminished 7th:dominant 7th:dominant sus4 7th:major 7th:major sus2 7th:major sus4 7th:minor 7th:minor-major
Interval: .. 1st 2nd 3rd 4th 5th 6th 7th 8th
Scale chords: .. major triads natural minor triads harmonic minor triads melodic minor triads major 7ths natural minor 7ths harmonic minor 7ths melodic minor 7ths
Mode chords: .. triad:ionian triad:dorian triad:phrygian triad:lydian triad:mixolydian triad:aeolian triad:locrian 7th:ionian 7th:dorian 7th:phrygian 7th:lydian 7th:mixolydian 7th:aeolian 7th:locrian
Cadences:
..
perfect authentic
imperfect authentic
plagal
half
deceptive
Others: .. note name relative minor
All keys: .. all major scales all minor scales all harmonic minor scales all melodic minor scales circle of 5ths
Key: .. C D E F G A B .. Cb Db Eb Fb Gb Ab Bb .. C# D# E# F# G# A# B# .. C## Dbb D## Ebb F## G## Abb A## Bbb ?
Solution: [1] 2 3 4 Lesson steps: 1 2 3 4 5 6 7 8 9 10 Home Top ^
This step shows the A dominant 7th chord in root position on the piano, treble clef and bass clef.
Solution: 1 [2] 3 4 Lesson steps: 1 2 3 4 5 6 7 8 9 10 Home Top ^
This step shows the A dominant 7th 1st inversion on the piano, treble clef and bass clef.
Solution: 1 2 [3] 4 Lesson steps: 1 2 3 4 5 6 7 8 9 10 Home Top ^
This step shows the A dominant 7th 2nd inversion on the piano, treble clef and bass clef.
Solution: 1 2 3 [4] Lesson steps: 1 2 3 4 5 6 7 8 9 10 Home Top ^
This step shows the A dominant 7th 3rd inversion on the piano, treble clef and bass clef.
Solution: 1 2 3 4 Lesson steps: [1] 2 3 4 5 6 7 8 9 10 Home Top ^
This step shows the white and black note names on a piano keyboard so that the note names are familiar for later steps, and to show that the note names start repeating themselves after 12 notes.
Solution: 1 2 3 4 Lesson steps: 1 [2] 3 4 5 6 7 8 9 10 Home Top ^
This step shows 1 octave of notes starting from note A , to identify the start and end notes of the scale used to build this chord.
Solution: 1 2 3 4 Lesson steps: 1 2 [3] 4 5 6 7 8 9 10 Home Top ^
This step describes the A major scale , whose note intervals are used to define the chord in a later step.
Solution: 1 2 3 4 Lesson steps: 1 2 3 [4] 5 6 7 8 9 10 Home Top ^
This step identifies the note interval numbers of each scale note, which are used to calculate the chord note names in a later step.
Solution: 1 2 3 4 Lesson steps: 1 2 3 4 [5] 6 7 8 9 10 Home Top ^
This step defines a seventh chord, names the 7th chord qualities and identifies the notes that vary between them.
Solution: 1 2 3 4 Lesson steps: 1 2 3 4 5 [6] 7 8 9 10 Home Top ^
This step defines the note intervals for each chord quality, including the intervals for the A dominant 7th 7th chord. It also shows how the 7th chord qualities are related to the triad chord qualities they are based on.
Solution: 1 2 3 4 Lesson steps: 1 2 3 4 5 6 [7] 8 9 10 Home Top ^
This step shows the A dominant 7th chord note interval names and note positions on a piano diagram.
Solution: 1 2 3 4 Lesson steps: 1 2 3 4 5 6 7 [8] 9 10 Home Top ^
This step shows the first inversion of the A dominant 7th.
Solution: 1 2 3 4 Lesson steps: 1 2 3 4 5 6 7 8 [9] 10 Home Top ^
This step shows the second inversion of the A dominant 7th.
Solution: 1 2 3 4 Lesson steps: 1 2 3 4 5 6 7 8 9 [10] Home Top ^
This step shows the third inversion of the A dominant 7th.
The Solution below shows the A dominant 7th chord in root position, 1st, 2nd, and 3rd inversions, on the piano, treble clef and bass clef.
The Lesson steps then explain how to construct this 7th chord using the 3rd, 5th and 7th note intervals, then finally how to construct the inverted chord variations.
For a quick summary of this topic, have a look at Seventh chord .
The A dominant 7th chord contains 4 notes: A , C# , E , G .
The chord spelling / formula relative to the A major scale is: 1 3 5 b7 .
Middle C (midi note 60) is shown with an orange line under the 2nd note on the piano diagram.
These note names are shown below on the treble clef followed by the bass clef.
The figured bass symbols for this chord in root position are 7/5/3 .
The staff diagrams and audio files contain each note individually, ascending from the root, followed by the chord containing all 3 notes.
The A dominant 7th 1st inversion contains 4 notes: C# , E , G , A .
These note names are shown below on the treble clef followed by the bass clef.
The figured bass symbols for this chord in root position are 6/5/3 , so the chord is said to be in six-five-three position .
The A dominant 7th 2nd inversion contains 4 notes: E , G , A , C# .
These note names are shown below on the treble clef followed by the bass clef.
The figured bass symbols for this chord in root position are 6/4/3 , so the chord is said to be in six-four-three position .
The A dominant 7th 3rd inversion contains 4 notes: G , A , C# , E .
These note names are shown below on the treble clef followed by the bass clef.
The figured bass symbols for this chord in root position are 6/4/2 , so the chord is said to be in six-four-two position .
The white keys are named using the alphabetic letters A, B, C, D, E, F, and G, which is a pattern that repeats up the piano keyboard.
Every white or black key could have a flat(b) or sharp(#) accidental name, depending on how that note is used. In a later step, if sharp or flat notes are used, the exact accidental names will be chosen.
The audio files below play every note shown on the piano above, so middle C (marked with an orange line at the bottom) is the 2nd note heard.
The numbered notes are those that might be used when building this chord.
Note 1 is the root note - the starting note of the chord - A , and note 13 is the same note name but one octave higher.
The major scale uses the W-W-H-W-W-W-H note counting rule to identify the scale note positions.
To count up a W hole tone, count up by two physical piano keys, either white or black.
To count up a H alf-tone (semitone), count up from the last note up by one physical piano key, either white or black.
The tonic note (shown as *) is the starting point and is always the 1st note in the major scale.
To identify the note interval numbers for this major scale, just assign each note position from the previous step, with numbers ascending from 1 to 8.
To understand why the note names of this major scale have these specific sharp and flat names, have a look at the A major scale page.
Whereas a triad chord contains 3 notes, a 7th chord contains 4 notes that are played together or overlapping.
7th chords exist in eight different chord qualities , which are diminished , half-diminished , minor , minor-major , dominant , major , augmented , and augmented-major .
Each chord quality name is the name of the entire chord as a whole, not its individual notes (which will be covered later).
All of these 7th chord qualities are based on the 1st, 3rd, 5th and 7th notes of the major scale piano diagram above.
Depending on the chord quality , the 3rd, 5th and 7th scale note names of the major scale above might need to be adjusted up or down by one or more half-notes / semitones / piano keys.
It is these variations of the 3rd, 5th and 7th notes that give each one a distinctive sound for any given key (eg. C-flat, E etc).
In fact, these 7th chords are based on triad chords - the first 3 notes of any 7th chord are identical to a specific triad chord quality, with one extra note added to make it a 7th chord.
A suspended chord is known in music theory as an altered chord because it takes one of the above chord qualities and modifies it in some way.
Unlike all of the above qualities, Suspended triad chords do not use the 3rd note of the major scale (at all) to build the chord.
The 3rd note is suspended , ie. removed completely, and replaced by either the 2nd note of the major scale - a suspended 2nd , or more commonly by the 4th note of the major scale - a suspended 4th .
Musically, this is interesting, since it is usually the 3rd note of the scale that defines the overall character of the chord as being major (typically described as 'happy') or minor ('sad').
Without this 3rd note, suspended chords tend to have an open and ambiguous sound.
The steps below will detail the dominant 7th triad chord quality in the key of A .
Each individual note in a 7th chord can be represented in music theory using a note interval , which is used to express the relationship between the first note of the chord (the root note), and the note in question.
The root note is always the 1st note (note interval 1 in the above diagram) of the major scale diagram above. ie. the tonic of the major scale.
Then there is one note interval to describe the 2nd note, and another to describe the 3rd note of the chord, and finally another interval for the 4th chord note.
In the same way that the entire chord itself has a chord quality , the intervals representing the individual notes within that chord each have their own quality.
These note interval qualities are diminished , minor , major , perfect and augmented .
Below is a table showing the note interval qualities for all 7th chords, together with the interval short names / abbrevations in brackets.
The final column shows the triad chord quality that the 7th chord is based on, so the 2nd and 3rd note quality columns are the same as the triad table for the same key.
The numbers in brackets are the note interval number (ie the scal
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