How to Resolve a Dominant 7th Chord - Music Composition
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- Опубликовано: 10 июл 2024
- This music composition lesson explains and demonstrates how the voice leading rules apply to the resolution of the Dominant 7th chord. An investigation of how to resolve the 7th and the 3rd in a V7 chord is followed by various options for the application, including how best to follow the chord with I or VI, how to organise the part writing, how to decorate, and how to enhance the resolution. Particularly useful for those writing four part harmony who want to gain confidence in the use of the V7 chord.
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🕘 Timestamps
0:00 - Introduction to how to resolve a dominant 7th chord
0:13 - What is a dominant 7th chord?
5:55 - Example 1 (triple root)
8:57 - Example 2 (getting around the triple root)
10:54 - Example 3 (with decoration)
12:23 - Example 4 (with decoration)
13:56 - Example 5 (with decoration)
14:48 - Example 6 (exceptions to the rule)
17:18 - Example 7 (using a suspension)
19:54 - Example 8 (cadential 6-4)
22:11 - Example 9 (going to chord VI)
27:19 - Conclusion
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I enjoy all of your videos and programs, and I am now a a happy Maestro supporter! Thank you for providing all of your content to everybody
That’s great. Enjoy Maestros. It’s great to have you with us.
Your Bach Chorales course is a goldmine, and not just for Bach, it's been extremely useful for harmony in general. I keep going back to it time and again as its such a succinct and valuable reference. 10/10
I’m so glad it’s helpful
When you hear "Hi, I'm Gareth Green, and in this wideo. ..", you know it's gonna be good!
That’s most kind of you
So true, Jerome. It makes my day too! 👏
Those deceptive cadences in the final example are beautiful. Serious vibes of the 2nd movement from the Emperor!
Good connection
Gareth we all love your generous sharing of knowledge that you must have worked at for a long time and with great diligence. Your enthusiasm, patience and content bring such a joy to my heart. Thank you from the Rocky Mountains in British Columbia, Canada!!
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Either I am finally ready to receive and understand this information or you are really good at explaining this -- both is likely the answer and I am thankful for your video!
A pleasure. Much more at www.mmcourses.co.uk
One of the best teachers online. Lots of knowledge with good simple method.
Cheers from Florianópolis - Brazil
👏🏼👏🏼👏🏼
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I'm a Noob, and have only a basic knowledge of music theory. Some of this was over my head, but he explained things so well that I wasn't lost. I've just received a motivation to get my chops and come back when I can really take advantage of his knowledge.
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Generous and inspiring instruction lucidly presented and with examples. Thank you!
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You have no idea how you help me
Thank you so much❤
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One of your best ever videos Gareth, and that's a pretty high bar!
You’re most kind.
Super! Thank you, Gareth 👍👏
A pleasure
Thank you for clear explanation.
A pleasure
Very informative video! I would love more theory explanations that discuss the reasons why some of the rules were developed
Fair enough. A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
This is the most interesting part of all the music composition.
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Extremely useful. Thanks a lot.
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always a pleasure
Amazing lesson 💕💚
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Excellent video as usual.
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Very interesting. I'm not quite sure I understood what a diminished 7th is in this context but I liked the sound of it. Thanks for the great videos.
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Good trick I found for situations like example 9.3 - don't just leap up to the seventh of the V, but also hold it over as a suspension into the VI chord. It avoids actually having fifths on consecutive beats, and also keeps the rhythm of the first half of the bar going.
That’s a useful idea if you have a context in which it works. Certainly when moving from V to VI there’s an increased danger of 5ths.
Insightful 💡💡
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Ooh this is super good. I've been playing with unexplored sounds on Ian Ring's website recently lol, so this will definitely help because harmonizing with those weird scales is pain ☠️
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That was very helpful, thanks (again)! The final bar of your ninth example sounds like I've heard it in a lot of pop music. And that false relation immediately had me thinking of Ferde Grofé's "On the Trail".
A pleasure. Interesting thought.
Haha just performed the Grofe two weeks ago with Edinburgh Symphony Orchestra.
Excellent
Thank you sir to remind me💭
A pleasure
Thanks a lot.
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Thanks!
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Hi, in the video you talked about 7th chords built on each / any scale degree and you cited II7 as seventh built on second degree. Those sevenths will be major sevenths ( such as I7, major 3rd, major seventh) or minor sevenths (e.g. II7, minor 3rd, minor 7th), the dominant 7th is major third, minor seventh. Classical standard roman numeral chord notation does not make the intervals as obvious as sometimes desired. In jazz notation it is more common to use for example Cmaj7 Dmin7 to indicate major or minor sevenths and G7 to indicate dominant 7 (major 3rd minor 7 - or b7 in jazz parlance). The odd one is (for example Cmin maj7 (minor 3rd, major 7th ) as a 7th chord within a melodic minor scale.
All true.
Actually, I quite like the false relation (as per English madrigal composers sometimes used them to colour their texts).
It’s great in the right context
Another good one. How about a piece of music with V7 chords first just to get into the tub so to speak? Thanks.
We have that out there but could certainly do more.
one thing about the V VI resolution, one solution to deal with the consec fifths: double the tonic (the 3rd of the 2nd chord).
Yes there are several solutions.
Great video. I particularly liked example 8 - but a few of the others were also interesting.
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@@MusicMattersGB I have since wondered if there is any special treatment for inversions of dominant seventh chords. Does inverting a dominant seventh make a difference to the resolution as described here?
The resolution rules remain the same in any inversion - namely that the 7th falls and the 3rd rises.
@@MusicMattersGB Thanks for that.
😀
Re: example 6, some theorists would say that taking the 3rd of the dominant down to the 5th of the tonic should only be done when it's in an inner part, not in the top voice (and of course, it can't be in the bass for a root-position cadence).
Incidentally, it doesn't take that much consideration of all the possible voice movements, to see that it's impossible to move from a complete root-position V7 chord to a complete root-position I chord, with the 3rd of the dominant going up to the root of the tonic, and the 7th of the dominant going down to the 3rd of the tonic, without the 5th of chord V also moving to the 5th of chord I, i.e. moving in parallel 5ths with the bass.
Absolutely
Thanks a lot for sharing this. i was searching for the explanation on why the 7 chrod resolve to the 5th chord above. you put me in the right direction. i still would like to understand the "why"? does this have to do with our western culture on music and we are "used" to this structure? i would love to understand the science behind. thanks so much for sharing
The main thing about resolving dominant 7th chords is the voice leading, as in the video. That determines the chord movement. It’s all about where the sound of the individual lines wants to go.
Hi, Gareth. Thank you so much for this awesome content! I have one question. Isn’t it generally frowned on to double the third of a chord in 4 part harmony? I see you doubled the 3rd of the B minor chord in the first bar of example 9.
It’s okay to double minor 3rds. Be more cautious with major 3rds.
@@MusicMattersGB I see, thanks for the response! I have one last question for you, so I hope you don’t mind. I’m considering buying one of your courses on the website but I don’t know which one is best for me to start with. I’m not very familiar with 4 part harmony and counterpoint specifically, but I do have a good understanding of music as far as key centers and tonality, scales, the Roman numeral system, chord types and qualities, intervals, etc. I can improvise and play most western types of music (rock, pop, blues, jazz) but this type of harmony isn’t in my wheelhouse. I’d like to learn it at a competent level so I can make my own compositions and even improvise in the style. Which course do you think I should start with? Sorry for writing a book with my comment by the way! I just wanted to provide you with some context. Thanks!
Hi. That’s great. If you’re a keyboard player I would tackle this through our keyboard harmony course. If not, I would go for the Advanced Theory course. Enjoy!
Another fantastic lesson, as always. I love all your videos!! - just one thing doesn't seem right to me: I might be wrong but what about the consecutive octaves (bass and alto) at bar 3 of the 9th example?
Well spotted. Sorry about that.
@@MusicMattersGB thank you, Gareth. Greetings from Spain
Greetings
Hello! Regarding Example 6, I thought that, in common practice, the third of the dominant seventh chord could only fall to the fifth if there was another voice arriving to the tonic in the same register that the leading-tone was supposed to, so that we can at least hear the proper resolution of the tritone. If this is true, then Example 6 wouldn't be an acceptable exception, because the expected tonic in the register of the tenor never arrives. What are your thoughts on this?
Text books vary on this matter. Some are quite zealous about the point you make; others are more flexible. I appreciate the more flexible view because it’s often what happens in real music.
Hello Gareth! I’m humbly asking if you perhaps have any insight into this harmonic movement I’m studying. If we move the third within D6 D-F#-A-B one half step down to form D diminished, we can then move it another half step into G6 (from D-F-Ab-B to D-E-G-B) … I am desperately trying to understand why this works outside of just “oh it’s voice leading” the only practical result I reach is perhaps I7b9 to I6…I’m lost haha
You have common notes which thread the chord progressions. Much depends on the context of Key. If you’re in G major, for example, your D6 is actually a Bm7 in first inversion so that’s iii7 in G. The middle chord then gives you chromatic movement on to the final chord, which is Vii7d. It could function in other keys depending on your context.
@@MusicMattersGB thank you so much, yes I suppose just that voice leading allows us to do this. I am looking at it in the key of G, this answers my question very nicely. I appreciate the time
A pleasure
Thank you for your lucid explanation; how chords progress is fascinating. However perhaps because I am using a small notebook, I find your musical examples do not appear so clearly. A bit larger might have been better.
In terms of chords that can follow a 7th, it seems to me that 7th chords can be followed by other 7th chords (is that what you are dong at the end?). So, for example, there could be G7 E7 a min or G7 C7 F or even G7 C#7 F# !(some of those chords might need inversions).
That’s true about 7th chords being followed by other 7ths chords, especially the chains of 7ths that we often find in music. Sorry you’re having trouble with the size of text. We do everything we can in this regard but maybe you sometimes need to view on a bigger screen?
Also, a V/V (or a III7) could be used in the last example?
Sure
I am looking for in my piano what chords sound mediaeval. I found chords with two notes , so I think they are broken chords. One of them is B followed by the next E on the right. B and D. I found others.
Some of these are used in pieces I am studying as a beginner and one of them is Gymnopédie #1.
I don't find much about mediaeval music on line.
This is too much of a stretch, but I am looking for music that appeals to my heart. It seems I have never been to much interested in music and my mind goes to the math curiosity while I am trying to learn.
If I had material and time I would go on connecting things and some people think this can be dangerous.
Thank you for your lessons.
That’s very interesting. You’re on an exciting journey. Thanks for your support.
Is there an issue with the 2nd inversion dominant 7th resolving to the tonic (E-D in the bass) or is that getting beyond what you are trying to show here?
Where do you see a second inversion V7?
@@MusicMattersGB There isn't one in your example, but could you use one in the first example? For instance, have the E in the bass and then put the A in the tenor. That way the bass resolves down a step to D and the tenor remains on the common tone of A. This also solves the problem of tripling the root. The alto would then go from G to F#.
That’s a perfectly reasonable alternative
@@MusicMattersGB Thanks, I just wanted to make sure it was. I wasn't sure if you were just trying to show all root position resolutions or if maybe there was something not quite correct about second inversion 7ths. Thank you for your excellent teaching. Very easy to understand and comprehend.
Yes this video was focused on root position resolutions but of course it’s perfectly possible to use other inversions as long as they resolve correctly
When I studied harmony a thousand years ago I was told to beware V7 as the 7th could not be reached upwards i.e. from a lower note, either by step or by leap (which was even worse). You Gareth are doing so in several examples. Was I taught something really severe/strict?
I’m sure your teacher had his or her reasons but it does seem severe when so many composers don’t observe that approach.
Well, it wasn't quite 1,000 years ago. Luckily, I was in your class and, as I recall, Mr. Leonin said it could not be done in this manner because it was "of the devil's own hands".
Strong expression
Sorry to bring up old vids, When you say the dominate 7 th chord is the 5th note of scale A , did you mean D major? @ 6:23
The Dominant is the 5th degree of the scale in any key. You then build the chord on that note.
@@MusicMattersGB I’m sorry, when you said A it sounded like you were using scale A not saying the note A . It just sounded confusing. Now I see what happened
No worries
Hi Gareth,
I'm not a piano player so it was a bit tricky seeing where the 7th fell to.
Maybe you should put some stickers on the keys. 🙂
So O.K. the G7 (G B D F) resolved down to C
but why did you fall to C as a four note chord (CGCE).
At first i thought you had made the C a 7th as well.
Is that C an inversion?
I can't figure out what the third (B) is rising to.
but it appears the third rises to the very same chord as the 7th falls to?? (C G C E) ??
Oh I think I see.
The G7th falls to C
But then if a B is DELIBERATELY played as it's own chord, then it wants to rise to C as well?
I've been thinking that just the B being present as the third in the Dom 7th was making it want to rise!! Nah, that doesn't make sense to me either because B is B D# F#. I give up!
What would constitute a working progression utilizing the above?
I just can't grasp the working practicality of the rising of the third (B) and how it comes into play in the same musical phrase when this all seemed to be about the G7. Just don't know what to do with the knowledge of the third of G wanting to rise in the key of C.
Thanks,
Cliff
See my response to your e mail
Go to the Major a4th higher :)
😀
Hi Gareth,
I was overjoyed to find your tutorial on resolution (best simplification I'd seen) and was following along well until you finished with the key of C and said you were "going to the key of D Major. (did you mean the scale?)
So I thought, O.K., the Dominant 7th will be A7 in the Key of D. (D G A7)
Then you said that D Major's got F# and C# . . .(correction, you said C#))
The D scale doesn't have a G# (oops, the D scale DOES have a C#)
the D Major Chord is D F# A
The D7 chord would be D F# A - C (flatted C# 7th note)
By the time you said,
"the Dominant 7th chord is the fifth note of the scale A" (?)
I couldn't figure out why your explanation moved to the A Scale when you said we were in D.
so I stopped watching until I could figure it all out.
Was going to the A scale just to calculate the A7 The Dominant 7th in key of D.
A7 being A C# E - G (the flatted 7th)
Is that where the G# you referred to came from??
So where was that all going . . .
The C# rises to D
The G falls to F#
Is that right?
Thanks,
Cliff
You’ve got it. It’s not about the scale of A major but about A being the 5th note of the scale of D major therefore we build the dominant 7th on A - A C# E G.
@@MusicMattersGB
Thanks much Mr. Green
You've helped me overcome a giant hurdle! Of all my online searches over the past week re resolving the dominants, your video made me exclaim, "Finally!"
IO really needed to know that the 7th tone wants to lead downward and the leading tone third of the chord wants to rise, also that the two most common destinations are the I and the vi .
Are the 7th AND the third of the dominant chord both considered "leading tones"?
Now I'm trying to figure out where the Double Dominant in C . . . D7
and the Triple Dominant A7 and the dominant of the Rel Minors (E7 natually resolve to.
I tried to work it out with the Triple Dominant, the dominant of the V chord
and came up with this:
Triple Dom is A7
A C# E -G
So if the C# wants to rise to D
and the G wants to descend to F# (Gb)
All I can come up with is that that Secondary Dom A7
can resolve to the V chord G because G has the D note as its 5th.
I understand that the Triple dominant is built on the II chord
so I tried seeing if the A7 leading tones wanted to go to Dm.
I know I'm missing something.
I'm trying to draw the line here with chord progressions; i.e, stick with trying to grasp the moves in a major key.
The point at which I stopped watching your video (but I will tomorrow)
seemed to be going ahead too far for my understanding, I can't read or write music but have many of my own songs and I'm just now discovering that I've been resolving dominants all along and didn't know the math of it.
One of my songs that i like is called Between Trains and I was going from A to F repeated for a few bars to start the chorus but the song is in C. Seemed funny to me and I liked it but something was missing and it was the 7th of that A, even for only one beat, leading into the F. . . which is the Triple Dominant in C.
Maybe I just partly answered my question.
Why does the Triple dom A7, work leading into the F?
Send me a bill. 🙂
Thanks for replying!
Cliff
Ha ha Gareth, you definitely have fun singing your teaching, don't you?
😀😀😀
Hello Music Matter, Hope all is well. I really need your help! Can you do a video showing us how to add dominant 7th chords to a song such as At The Cross song or Mary Had A Little Lamb. I understand how to create a dominant 7th, but I don’t know when to add the dominant 7th chord in a song. I get confused! Please help me kind sir! Your help is greatly appreciated! 😊
We will make a video on that topic
@@MusicMattersGB Sir, you are indeed Awesome! Thank you very much! Looking forward to the video‼️🥳
😀
What about the very common progression that uses a tritone substitute for the dominant? In C major this would be Dm7, Db7 (a dominate 7th that substitutes for G7 but is a tritone away) followed by CM7? There is a Phrygian cadential aspect to this chord progression. There is also the fact that the notes B natural and F natural appear in both the G7 chord and the Db7 chord but their functions are reversed with the B natural becoming the 7th of the chord and the F becoming the third of the Db chord. This is a very rich progression with a lot of relevance to music today rather than being a mere harmony exercise supposedly in a style of classical music that really no one is doing today in real life. Is the fact that this interesting cadential pattern is so common to Jazz the problem here and it the reason why it gets no mention at all??? I feel that there is much more of interest for composers today to be found in Jazz Theory than what we see here, part of the reason being that, post Debussy, many of the ideas of “correct” voice leading talked about here are now almost but not entirely meaningless, parallelisms being a perfect example, especially when those effects were also present to some extent in the music of the past too. John Adams has certainly spent a lot of time studying Jazz Theory. I use a very obvious variant of tritone substitute where I lower the Ab of the Db chord to the note G, thereby creating a major #11 chord that also uses G as a common tone with the C chord that it resolves to. There are two tritones in this chord and a lot of implications of the whole tone scale. What’s not to like? Just because Bach, Mozart, and Beethoven did not do this is meaningless if your intention is to show interesting dominant function cadences to your audience. It really brings into question what your ultimate goal is here. By teaching a largely irrelevant form of music theory are you put forwarding an ideological concept of the “Great Composers” and their methods of composition being the most important thing that ever happened or ever will happen in music (an impossible concept to seriously defend when thinking of the future of our species), or are you actually just trying to teach interesting uses of the Dominant 7th chord. If the latter is the case, then you seriously missed some stuff out. If the former is the case, then it is quite evident why you missed out on some “common practice” features of Jazz theory. I will say that I did very much appreciate your mention of throwing in the diminished 7th chord between chords as an expressive harmonic amplification of the progression but felt the false relations stuff was something you could have contextualized a bit differently. However, I repeat what I said which is not mentioning other cadential methods common in other styles of music seems like a very studied form of deafness to me. The world really changed after Debussy and many people were listening. Cheers, Paul
I’m really glad you mention the tritone substitution because that’s the subject of a parallel video we issued recently.
@@MusicMattersGB Love to see that video, what is the link? I am sure you did a great job. I am still curious to know what you think of the relationship between jazz theory and classical theory and why you think we are still teaching aspects of “common practice” music theory that so obviously is no longer common practice? Many have asked this, few have answered (at least, not well). I sometimes get the impression that academic serialism was supposed to become the common practice of our time, but that other ways of making music have become the mainstream, in particular various forms of modal music and modal musical thinking. I would also say that there seems to be little understanding of rhythm as an experience that is valued as much as theoretical harmonic practices of various types, although this may be changing too. If you teach “music theory” we must acknowledge that the “theory” is based on a point of view. I really think, therefore, that these questions need to be addressed. I do not at all hold with the view of a certain American musicologist who states that Beethoven was a mediocre composer whose reputation is based on his elevated place in a White Supremacist (sic?) society. If Beethoven is mediocre, please show me the better composer who is not. Beethoven had a huge influence on my life. However, I do not understand why we do not place Duke Ellington at an equal level to composers such as Charles Ives and Aaron Copland or Phillip Glass or John Adams. And why would Copland’s harmonic practice and Vincent Persichetti’s Twentieth Century Harmony be studied in certain University circles but not Duke Ellington’s specific approach as well as that of others like him. Duke Ellington wrote 70 orchestral suites that are at least as interesting as Haydn’s symphonies and I think to many they might be vastly more so. I love late Duke Ellington and Late Beethoven. Why not?? I also find I get more out of a dialogue with a playing jazz musician than I do with a classical player who only reads music but does not really create it. This can sometimes be the case with music theory teachers too, especially when there is an over-identification with a certain theoretical “camp”. I generally find jazz musicians much more informed at a theoretical and conceptual level than I do most classical music performers and theorists. Most performers seem to talk about their reeds and their bows. Some even don’t even seem to know the structures of classical music. Jazz musicians often read really well too and I can actually have a conversation with them that pertains to what I do. I still get the feeling that this discussion is distorted by the old view that we essentially do not have a common practice in the 21st century. However, since we know that post World War 2 serialism and similar western music modernist projects were dismal failures that used “techniques” bound to a “theory” of “total control” that paradoxically only served to create chaotic music, why not admit that behind all that angst a common practice really did evolve, one that does work for our ears in our own time? And for this reason, is it not time that the two fields of classical music theory and jazz music theory came together more? And it really is racist to deny the legitimacy of jazz, if anyone still does, which I doubt very much. I am just raising these issues for discussion amongst musicians and for the sake of their craft and not to get into the horrors of the divisive social theories we see today. I believe that one of the great strengths of our field of the arts, and of that world wide tribe we call musicians, is our ability to appreciate others who love music and that we should try and practise this beautiful, friendly virtue as much as possible. Warmest regards, Paul :)
The bottom line is that music is a common language simply expressed in different ways according to genre and time of composition. It’s all equally valid. Warmest wishes to you too.
What about FMaj7?
Fmaj7 is a great chord but it never features as a Dominant 7th because V7 always contains a minor 7th.
@@MusicMattersGB Thank you for your answer. This was probably a misunderstanding. My thought process was regarding resolving G7 to FMaj7, because in C Major key, G7 would resolve to C or Am naturally. An FMaj7 could be seen as a Am/F, which is pretty close to Am. What's your opinion on that?
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Simple to you, revelation to me. The gods will punish you for publishing their secrets, but I thank you instead.
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