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Please note this is an archived topic, so it is locked and unable to be replied to. You may, however, start a new topic and refer to this topic with a link: http://www.fiddlehangout.com/archive/54451
Petimar - Posted - 12/25/2020: 11:53:37
I recently started a video series on music theory. So far there are 6 videos with more to come soon. All have PDF files of the examples. You can find these by going to
petemartin.info/
Click "vidoes" and scroll down to "Music Theory"
pete_fiddle - Posted - 12/25/2020: 12:03:55
Applied to the G major scale the dominant 7th chord is D7 not G7 ?? With the notes D F# A and C...
mmuussiiccaall - Posted - 12/25/2020: 21:28:53
quote:
Originally posted by pete_fiddleApplied to the G major scale the dominant 7th chord is D7 not G7 ?? With the notes D F# A and C...
Although D7 is the Dominant chord in the key of G other degrees of the scale can be made into dominant 7th chords, for example She's a Woman, Wooly Bully, and a million blues songs.
pete_fiddle - Posted - 12/26/2020: 00:25:05
quote:
Originally posted by mmuussiiccaallquote:
Originally posted by pete_fiddleApplied to the G major scale the dominant 7th chord is D7 not G7 ?? With the notes D F# A and C...
Although D7 is the Dominant chord in the key of G other degrees of the scale can be made into dominant 7th chords, for example She's a Woman, Wooly Bully, and a million blues songs.
Any chord can be altered in various ways for various purposes. But it still remains that the Dominant 7th chord in the key of G Major is D7 Not G7, which is the Dominant 7th chord of C Major.
pete_fiddle - Posted - 12/26/2020: 07:52:12
Actually thinking about it, you cannot build a "Dominant 7th" chord for the key of G Major from any old note of the G Major scale.
It has to be built from the Dominant, or 5th degree of the scale (D) to be the Dominant 7th chord for the key of G Major.
If you build it on any other note it is the Dominant 7th chord for a different key, and would be used in a different way. Eg: For the b7 sound in a blues progression, a passing chord in a circle of 5ths progression, or to modulate to a different key etc. Instead of performing its function as a perfect cadence (V7-I or D7 G) in the key of G Major.
The Dominant 7th chord of the Major scale in its 1st inversion, is a triad built on the "Dominant", (5th or V) note of the Major scale, with its 7th note (taken diatonically from the key), added, to make it a 4 note chord.
Petimar - Posted - 12/26/2020: 17:28:44
quote:
Originally posted by pete_fiddleApplied to the G major scale the dominant 7th chord is D7 not G7 ?? With the notes D F# A and C...
You are correct to say the D7 chord is built from the key of G major.
However what the video you were looking at is covering is just how to construct a dominant seventh chord, not what key the chord is located in. That will come in a different video.
A chord is named and built using the number system (i.e. 1 3 5 b7) of the major scale of the chord name. Here I was building the G7 chord, so I used the number system based on the G major scale. The G7 chord is the 1 3 5 b7 of the G major scale.
To build a D7 chord (D F# A C) you use 1 3 5 b7 of the D MAJOR scale. Even though a D7 chord occurs in the key of G, you define its construction from the key of D.
In video #6 I look at the 3 note chords in a key (triads). Like I said above, a future video will cover 4 note chords in a key.
I also like to tell folks that theory only puts terms to sounds we hear, lets us communicate about those sounds. If you know the sound, the terms make sense. If you don't know the sounds, all the studying of terms make no sense.
Also, always go by the sound YOU like to hear, not the "theory behind it being correct"!!!
Pete, I hope this answers your question.
I am starting this video series at the very beginning and going along slowly so beginners hopefully start to understand some of these terms and sounds. I appreciate any feedback on whether I am succeeding or not! From your posts Pete, sounds like you are definitely not a theory beginner.
Pete
Edited by - Petimar on 12/26/2020 17:40:33
pete_fiddle - Posted - 01/07/2021: 12:16:16
quote:
Originally posted by Petimarquote:
Originally posted by pete_fiddleApplied to the G major scale the dominant 7th chord is D7 not G7 ?? With the notes D F# A and C...
You are correct to say the D7 chord is built from the key of G major.
However what the video you were looking at is covering is just how to construct a dominant seventh chord, not what key the chord is located in. That will come in a different video.
A chord is named and built using the number system (i.e. 1 3 5 b7) of the major scale of the chord name. Here I was building the G7 chord, so I used the number system based on the G major scale. The G7 chord is the 1 3 5 b7 of the G major scale.
To build a D7 chord (D F# A C) you use 1 3 5 b7 of the D MAJOR scale. Even though a D7 chord occurs in the key of G, you define its construction from the key of D.
In video #6 I look at the 3 note chords in a key (triads). Like I said above, a future video will cover 4 note chords in a key.
I also like to tell folks that theory only puts terms to sounds we hear, lets us communicate about those sounds. If you know the sound, the terms make sense. If you don't know the sounds, all the studying of terms make no sense.
Also, always go by the sound YOU like to hear, not the "theory behind it being correct"!!!
Pete, I hope this answers your question.
I am starting this video series at the very beginning and going along slowly so beginners hopefully start to understand some of these terms and sounds. I appreciate any feedback on whether I am succeeding or not! From your posts Pete, sounds like you are definitely not a theory beginner.
Pete
Hi Pete , as a self taught musician i have waded through various views on music theory, and have found over the decades that small differences in interpretation can send students off on different trajectories. which isn't necessarily a bad thing, as long as the student realizes this fact.
I am always appreciative and grateful for the work and thought that goes into projects like yours, and as always "one size doesn't fit all". And i am sure that others will benefit from your work as i have.
Cheers Pete.
Petimar - Posted - 03/08/2021: 13:59:24
Two new videos about the V and V (dominant) 7 chords.
#7 V implies V7
#8 V7 resolves to I
Find these at petemartin.info/videos.html
Scroll down to "Music Theory for Fiddle Mandolin and Violin"
Petimar - Posted - 04/05/2021: 15:56:07
Video #9 looks at what people means when they say the "Circle Of Fifths"
Find these at petemartin.info/videos.html
Scroll down to "Music Theory for Fiddle Mandolin and Violin"
Edited by - Petimar on 04/05/2021 15:56:27
Petimar - Posted - 08/27/2021: 08:44:09
Video #10 looks at the most common chords we encounter in tunes and songs.
Find these at petemartin.info/videos.html
Scroll down to "Music Theory for Fiddle Mandolin and Violin"
Petimar - Posted - 12/24/2021: 17:21:18
Video #11 looks at the modes of the major scale.
Video #12 looks at intervals
Video #13 looks at three note chords - triads
Find these at PeteMartin.info/videos.html
Scroll down to "Music Theory for Fiddle Mandolin and Violin"
bweir950 - Posted - 03/05/2022: 03:19:43
that's cool you started these series!
I've already watched 3 of your videos and I liked them
wilford - Posted - 03/05/2022: 12:48:59
"To build a D7 chord (D F# A C) you use 1 3 5 b7 of the D MAJOR scale. Even though a D7 chord occurs in the key of G, you define its construction from the key of D."
I respectfully disagree that one has to change keys to arrive at the properly identified V7 chord. I maintain that the chord is actually constructed in the same key signature of G Major.
In the key of G Major, the dominant 7 chord is built from the 5th tone of the G scale. A root position V7 is built from the root 5th tone D and then uses the F# tone which is a Major third above the root D, followed by a Minor third interval using the A note and then another Minor third interval using the C (natural) note. In other words, a root V7 is built from the 5th tone of the scale followed by a Major 3rd and two Minor thirds.
A root position Dominant 7 in the key of G is: D F# A C; 1st inversion is: F# A C D; 2nd inversion: A C D F#
If one changed key to D in order to build a Dominant 7 chord in G, it would require naturalizing the C# that occurs as the leading tone in a D Major scale.
Edited by - wilford on 03/05/2022 12:49:52
Brian Wood - Posted - 03/05/2022: 13:31:27
quote:
Originally posted by wilford"To build a D7 chord (D F# A C) you use 1 3 5 b7 of the D MAJOR scale. Even though a D7 chord occurs in the key of G, you define its construction from the key of D."
I respectfully disagree that one has to change keys to arrive at the properly identified V7 chord. I maintain that the chord is actually constructed in the same key signature of G Major.
In the key of G Major, the dominant 7 chord is built from the 5th tone of the G scale. A root position V7 is built from the root 5th tone D and then uses the F# tone which is a Major third above the root D, followed by a Minor third interval using the A note and then another Minor third interval using the C (natural) note. In other words, a root V7 is built from the 5th tone of the scale followed by a Major 3rd and two Minor thirds.
A root position Dominant 7 in the key of G is: D F# A C; 1st inversion is: F# A C D; 2nd inversion: A C D F#
If one changed key to D in order to build a Dominant 7 chord in G, it would require naturalizing the C# that occurs as the leading tone in a D Major scale.
Though technically that is true, most people probably want the simpler route, that for any chord, no matter what key the tune is in, you can build a Dominant 7 from the chord itself. It's easier to know first that D is the 5 chord in G, and then find Dominant 7 of D from there. I think most people here want simple rules of thumb. Rather than thinking of it as changing keys to do this, just think of it as finding the Dominant 7 (or any other interval) of a given major chord from itself.
But maybe that's just how my pea brain works.
buckhenry - Posted - 03/05/2022: 17:01:48
quote:
Originally posted by wilford
If one changed key to D in order to build a Dominant 7 chord in G, it would require naturalizing the C# that occurs as the leading tone in a D Major scale.
The major scale structure (1 2 3 4 5 6 7 ) is the quickest way to determine the notes of a chord, any chord, no matter on which degree of the chromatic scale it is located. 1 2 3 4 5 6 7 instantly provides all the possible notes for any chord. The chord nomenclature indicates the notes required for a particular chord and any alterations or extensions, if required; thus, V7 indicates the chord is built on the 5th degree and is a major triad with a flat 7th extension; take 1 3 5 from the major scale and flatten the 7th; 1 3 5 b7 = Dom7. In the major key this chord occurs naturally on the 5th degree without any alterations to the home scale notes. However, if a II7 is required, construct the notes of the major scale built from the 2nd degree of the home key, in the key of G this would be A; ( A B C# D E F# G# ) Apply the chord formula; 1 3 5 b7 = A C# E G. The nomenclature includes all the intervals required for the chord quality, all is needed to know is the major scale from any note rather than deciphering the intervals.
mmuussiiccaall - Posted - 03/06/2022: 18:00:49
quote:
Originally posted by pete_fiddlequote:
Originally posted by mmuussiiccaallquote:
Originally posted by pete_fiddleApplied to the G major scale the dominant 7th chord is D7 not G7 ?? With the notes D F# A and C...
Although D7 is the Dominant chord in the key of G other degrees of the scale can be made into dominant 7th chords, for example She's a Woman, Wooly Bully, and a million blues songs.
Any chord can be altered in various ways for various purposes. But it still remains that the Dominant 7th chord in the key of G Major is D7 Not G7, which is the Dominant 7th chord of C Major.
A dominant 7th chord is simply found by adding a pitch that is a whole step lower than the root. This can be done to a II III V VI ii iii vi without adding an interval that is out of the scale.
Edited by - mmuussiiccaall on 03/06/2022 18:01:29
alaskafiddler - Posted - 03/06/2022: 22:11:46
Describing it as changing keys every time change chord? Or based on the root of a chord? To me it seems unnecessary. G major is G, A, B, C, D, E, F#. with the tonic, tonal center (key) as note G and internal interval relation. The notes to form diatonic chords are in that set... and as relation to that key (ii, vi, IV, V7...).
Don't see how helps to describe D7 chord as if only exists in the key of D? Would that now be a I7?
Perhaps might be overall more confusing. (and more difficult to communicate); diminishes or conflates the concept of what "key of G major" meaningless? Why even use term "key" if just describing via chord root?
alaskafiddler - Posted - 03/06/2022: 22:30:01
I am pretty sure Dominant literally refers to the fifth (V). A naming system, tonic, supertonic, mediant, sub-dominant, dominant, sub-mediant, leading tone.
Simply adding a a pitch that is a whole step lower than the root? AFAIK, ii7, iii7, vi7 vii7 are not usually considered or referred to as Dominant 7. (nor VII7 or IV7)
III7, VI7, II7 are often referred to as secondary dominants, (also altering the third to major)... as that alteration serves a function "like" a temporary dominant, in wanting to resolve to a chord a fourth above.
Edited by - alaskafiddler on 03/06/2022 22:38:14
pete_fiddle - Posted - 03/07/2022: 00:34:36
Maybe a way of thinking about chord "shapes" rather than chord "function" ?
I find that for fiddle, (which has no frets or visual references), That thinking in "mode shapes or patterns" (rather than in chord shapes), and using my ears at the same time, helps me find my way around the fingerboard. So In practical use to me, a G7 chord would be the 1357 of the mixolydian mode, (shape or pattern). Same as a ii chord would be the 1357 of the Dorian mode, or a iii chord would be the 1357 of the Phrygian mode....etc. These modes only exist in their respective Major "Keys" or their relative Natural minor "Keys".
So to me, and in practical use, if say the 7th note of a mode (shape or pattern) is altered, all of the other surrounding modes change with it. Which to me constitutes a change of "Key" however briefly. This helps me in visualizing the fingerboard at that point in time. And in finding chord/mode substitutions, melodic phrases, improvising, arranging, double stops, shifting, analysing, and practical LH fingerings etc, without any visual references.
Brian Wood - Posted - 03/07/2022: 09:46:55
quote:
Originally posted by alaskafiddlerSimply adding a a pitch that is a whole step lower than the root? AFAIK, ii7, iii7, vi7 vii7 are not usually considered or referred to as Dominant 7. (nor VII7 or IV7)
For practical purposes I think many players think of a dominant 7th note as a whole step below the root, the same as thinking of the relative minor chord as being a 3rd below the root instead of a 6th above. Any interval can be inverted and often for musical sense we consider intervals below instead of up. Inverted intervals always add up to 9.
I'm afraid this discussion, including my part of it, probably adds confusion to some readers since what we're doing is explaining how the concept works for us, individually. Some of these methods are confusing to me, too. It's a jumble of numbers but worth ironing out.
pete_fiddle - Posted - 03/07/2022: 11:35:21
What is the Dominant 7th chord or V7 chord in the "Key" of C Major ?
Edited by - pete_fiddle on 03/07/2022 11:38:14
buckhenry - Posted - 03/07/2022: 14:57:07
quote:
Originally posted by Brian Woodexplaining how the concept works for us,
And it's interesting how all the concepts arrive at the same answer.
However, the concept of using the major scale structure ( 1 2 3 4 5 6 7 ) to determine the notes of a chord has no relation to any key, so the original key does not change. It's just a group of notes arranged in a certain pitch order that we all know well, and can be superimposed onto any note of the chromatic scale for quick and efficient reference. Thus, bII7b9b13 is the quickest way to arrive at the notes rather than communicate in this way.... "Play the note of the flat second degree of the home key, then add the note a tone below that note, then add a minor third above that note, then add a perfect fifth above that note"............ I hope I got that right. When all I need do is find the tonic and play a major scale with flat 2,6 and 7th notes.
Brian Wood - Posted - 03/07/2022: 16:27:27
quote:
Originally posted by pete_fiddleWhat is the Dominant 7th chord or V7 chord in the "Key" of C Major ?
This isn't a trick question is it? The Dominant 7th chord to C Major is C7, as the Dominant 7th chord is is any chord with a flatted 7th on top (technically on top, but can be a 2nd underneath). The V7 chord in the key of C is G7. The V chord often has a flat 7th interval in it acting as a leading tone back to the I chord, but there are other reasons to use it. A good reason to use it is it sounds bluesy. Bluesy rock songs like Beatles "She's A Woman" use it on all the changes. It's gritty that way.
wilford - Posted - 03/07/2022: 20:02:48
In a C major scale, ( C D E F G A B C), G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7.
pete_fiddle - Posted - 03/08/2022: 00:24:44
quote:
Originally posted by wilfordIn a C major scale, ( C D E F G A B C), G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7.
That's what i thought. And the 5th note is also called the "Dominant" note so it's self explanatory really ?
buckhenry - Posted - 03/11/2022: 04:03:24
quote:
Originally posted by pete_fiddlequote:
Originally posted by wilfordIn a C major scale, ( C D E F G A B C), G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7.
That's what i thought. And the 5th note is also called the "Dominant" note so it's self explanatory really ?
And yet, a 'dominant seventh chord' can be built from any note of the chromatic scale just by spelling it thus....... 1 3 5 b7.
pete_fiddle - Posted - 03/11/2022: 08:22:17
quote:
Originally posted by buckhenryquote:
Originally posted by pete_fiddlequote:
Originally posted by wilfordIn a C major scale, ( C D E F G A B C), G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7.
That's what i thought. And the 5th note is also called the "Dominant" note so it's self explanatory really ?
And yet, a 'dominant seventh chord' can be built from any note of the chromatic scale just by spelling it thus....... 1 3 5 b7.
It would, or could still be the Dominant 7th, or 5th chord of one of the Major or minor keys, and would or could function as such if you wanted it too. Probably that's why it is called the Dominant chord ...Because it determines or suggests a Key, in a Major/minor Key, Western music context?
The use of it in a Blues/OT etc, context would be different i would imagine. It seems to me to be used more as a triad (or even a dyad) with an added b7 note for "effect". Similar to using the b3 or the more unusual b5 sound. Maybe a Dorian, Mixolydian, pentatonic, Gapped scale, or modal sort of thing ? BTW the use of it in "Celtic" music is often frowned upon by some players, (Usually "Pure Drop" players) in my experience.
buckhenry - Posted - 03/11/2022: 16:43:59
quote:
Originally posted by pete_fiddlequote:
Originally posted by buckhenryquote:
Originally posted by pete_fiddlequote:
Originally posted by wilfordIn a C major scale, ( C D E F G A B C), G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7.
That's what i thought. And the 5th note is also called the "Dominant" note so it's self explanatory really ?
And yet, a 'dominant seventh chord' can be built from any note of the chromatic scale just by spelling it thus....... 1 3 5 b7.
It would, or could still be the Dominant 7th, or 5th chord of one of the Major or minor keys, and would or could function as such if you wanted it too. Probably that's why it is called the Dominant chord ...Because it determines or suggests a Key, in a Major/minor Key, Western music context?
The use of it in a Blues/OT etc, context would be different i would imagine. It seems to me to be used more as a triad (or even a dyad) with an added b7 note for "effect". Similar to using the b3 or the more unusual b5 sound. Maybe a Dorian, Mixolydian, pentatonic, Gapped scale, or modal sort of thing ? BTW the use of it in "Celtic" music is often frowned upon by some players, (Usually "Pure Drop" players) in my experience.
The Dominant 7th chord occurs naturally built on the 5th degree from the diatonic notes of the major scale. In some other keys/modes/scales the Dom7th chord, aka 1 3 5 b7, is located on different degrees of the scale, eg, In the Aeolian mode/scale/key; a dom7th chord appears on the 7th degree. This is one reason the notes of that scale need to be changed to form the harmonic and the melodic minor scales so that the chord on the 5th degree will spell 1 3 5 b7, thus including the 'leading note', which wants to resolve to the tonic note.
The interval between the 3 and b7 of the Dom7th chord form the 'tri-tone' which is the very unpleasing harmony of the Augmented fourth interval, this is the interval that gives the Dom7th it's unstable character and thus requires resolution. The resolution of this interval usually occurs step-wise in contrary motion thus the common resolution to the tonic chord in the perfect cadence (V7 - I ). However, the tri-tone can occur in many other chords which can and does resolve to many chords, so the V7 will not always need to resolve to the tonic to form a perfect cadence.
The use of the Dom7th on all of the diatonic primary chords in popular music essentially provides the two main 'blue notes', the flat 3 and flat 7th notes of the tonic key, which by substituting and/or adding these notes form most types of 'blues scale'; the IV7 chord includes the b3 note, and the I7 chord the b7 note.
pete_fiddle - Posted - 03/12/2022: 01:32:26
Thanks for that Henry.
I think we may be talking "Tritone Subtitutions" here? as in this excellent (imo) explanation.
buckhenry - Posted - 03/12/2022: 15:05:56
quote:
Originally posted by pete_fiddleThanks for that Henry.
I think we may be talking "Tritone Subtitutions" here?
Inadvertently yes, however I was reminded of once when I was analyzing a chord progression and I came across the Dom7th and to my surprise it didn't resolve as expected, and this was classical music. So, I'm just saying a Dom7th doesn't always go to a Tonic chord, or an equivalent of V7 - I progression,ie, progression of roots in fourths, thus, doesn't always determine/suggest a key. And, many altered chords contain the tri-tone and don't resolve as in the V7 - I scenario.
mmuussiiccaall - Posted - 03/12/2022: 17:35:23
Did somebody say tri-tones?
fiddlehangout.com/tab/browse.a...mp;v=2790
chord progression
16 7dom7 3dom7 6dom7 2dom7 5dom7 16 16
Edited by - mmuussiiccaall on 03/12/2022 17:36:34
buckhenry - Posted - 03/12/2022: 17:55:28
quote:
Originally posted by mmuussiiccaallDid somebody say tri-tones?
fiddlehangout.com/tab/browse.a...mp;v=2790
chord progression
16 7dom7 3dom7 6dom7 2dom7 5dom7 16 16
I don't understand this stuff... where, how and why is it used....?
mmuussiiccaall - Posted - 03/12/2022: 18:11:05
Henry a video is worth a 1,000 words
youtube.com/watch?v=wd6iBghJYqs
pete_fiddle - Posted - 03/14/2022: 02:56:35
quote:
Originally posted by buckhenryquote:
Originally posted by pete_fiddleThanks for that Henry.
I think we may be talking "Tritone Subtitutions" here?Inadvertently yes, however I was reminded of once when I was analyzing a chord progression and I came across the Dom7th and to my surprise it didn't resolve as expected, and this was classical music. So, I'm just saying a Dom7th doesn't always go to a Tonic chord, or an equivalent of V7 - I progression,ie, progression of roots in fourths, thus, doesn't always determine/suggest a key. And, many altered chords contain the tri-tone and don't resolve as in the V7 - I scenario.
interesting could it have been a re-named German 6th? as explained here
Modulation using the German 6th Chord
buckhenry - Posted - 03/14/2022: 14:24:55
quote:
Originally posted by pete_fiddlequote:
Originally posted by buckhenryquote:
Originally posted by pete_fiddleThanks for that Henry.
I think we may be talking "Tritone Subtitutions" here?Inadvertently yes, however I was reminded of once when I was analyzing a chord progression and I came across the Dom7th and to my surprise it didn't resolve as expected, and this was classical music. So, I'm just saying a Dom7th doesn't always go to a Tonic chord, or an equivalent of V7 - I progression,ie, progression of roots in fourths, thus, doesn't always determine/suggest a key. And, many altered chords contain the tri-tone and don't resolve as in the V7 - I scenario.
interesting could it have been a re-named German 6th? as explained hereModulation using the German 6th Chord
Interesting, but no, it wasn't a chromatic chord and there wasn't any modulation......
alaskafiddler - Posted - 03/15/2022: 01:57:05
quote:
Originally posted by pete_fiddleMaybe a way of thinking about chord "shapes" rather than chord "function" ?
Seems similar to how folks need to label modal and chords as the same thing? Or as some memory tool? If thinking that way helps you play, great.
However, another thought... to address something in that comment thinking and function with regards to discussions of music theory.
To me, the point of music theory, is not simply about labels, terminology, "rules", scales/chords, what to name chords...doing math or instructions. IMO the other part is perhaps more important... in that music involves structure, help understanding concepts, reasons or why, thus is involving describing what's happening which could be including function and concepts in how things work and related.
----
With that, I mostly see the idea of Dominant7 described, the way originally coined and purpose; not simply a chord (or any chord with a b7) rather describing in context as a function of movement... based on literal feel of the dominant (fifth) but with b7 creating tritone, makes the function of unstable V7 resolving to tonic.
Probably that's why it is called the Dominant chord ...Because it determines or suggests a Key, in a Major/minor Key, Western music context?
I agree, though more that it reinforces idea of major/minor tonality; and separates it from predecessor modal and diatonic ideas. This V7-tonic resolve (for both major and minor keys) was one of the most important changes to new idea that came with major/minor functional harmony... what largely defines the CPP. It's use for chord movement, voice leading, line cliches, inversions, and pivotal way to modulate to other keys was pretty awesome advancement. It can be extended as Secondary dominant, predominant, or extended dominants; which still uses the same V7 to I feel but as V7 of the V7 of the I (II7/V7/I) or more as in V7/V7/V7/V7to I (or III7/IV7/II7 to I).
Related - though not a dominant7; similar function is using vii7, or related inversion is V9 (without root); as these all share same notes (B/D/F in key of C). This is often preferred if leading inward (such as to the M3; E in C chord).
-----------
The way some folks use Dominant7? Seems "dominant" to them obviously doesn't mean "fifth" nor refer to any concept about the fifth, V to tonic. As far as I can tell it doesn't really mean anything?
alaskafiddler - Posted - 03/15/2022: 03:17:05
quote:
Originally posted by buckhenryquote:
Originally posted by mmuussiiccaallDid somebody say tri-tones?
fiddlehangout.com/tab/browse.a...mp;v=2790
chord progression
16 7dom7 3dom7 6dom7 2dom7 5dom7 16 16
I don't understand this stuff... where, how and why is it used....?
What he refers to to as fourths; I believe it's trying to show the basic extended V7 - I chain progressions that lot's of songs use; especially in cadences. For example "Sweet Georgia Brown" VI7 to II7 to V7, to I (or V7 of V7 of V7 of I.) or "Five Foot Two" I/III7/VI7/II7/V7/I.
buckhenry - Posted - 03/15/2022: 19:53:56
Thanks for the explanation George. The actually PDF posted shows how each pitch of the tri-tone descends by a semi-tone through a cycle of fourths by Dom7th chords. I was confounded to how that makes music, but the video offered in explanation provided a kind of answer even though the chord progressions are quit unrelated.
