Dominant chord


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Related to Dominant chord: Diminished chord, Subdominant chord
(Mus.) the chord based upon the dominant.

See also: Dominant

References in periodicals archive ?
To make it really obvious, play a subdominant chord for 2 beats (ii or IV) and then a dominant chord for 2 beats (V or [V.sup.7]).
Among the reactions, outrage struck a dominant chord.
Thus, to adequately prepare the solo part for its repeat of the primary material in the tonic key, the third ritornello ends on a dominant chord with a V-phrase.
The mixture of these elements creates the passion of Flamenco, he said, adding that the significance of and the constant return to the dominant chord throughout the music are common factors in both Flamenco and Arabic traditions.
the black - yet beneath and beside the dominant chord of racialized angst in this passage is a subtle, subversive note.
Although the dominant chord in the volume is the difficulty if not downright failure to consolidate democracy in the third wave, a few countries and regions are exceptions.
For example, ordinary listeners generally expect a tonic chord to follow a dominant chord. Of course, they lack concepts of dominant (and tonic) chords in the music-theoretic sense.
The following bar (279) brings the home diminished seventh (the seventh on the leading note, as a variety of the dominant chord), elaborated by a long descent through the broken chord shared among the instruments (see Ex.
The first line of chords are constructed with the root in the left hand and the guide tones (the 3rd and 7th) of the dominant chord in the right.
This chromatic chord creates forward motion through the end of the first variation into the second, only reaching its resolution in the dominant chord in m.
The harmonic pattern was based on western harmonic form of the tonic, subdominant, and dominant chord with an extensive application of syncopation rhythm.
Warm-ups can heighten their awareness if the accompanist provides a harmonic backdrop for the exercises, which underscores the direction and phrasing of the warm-up and transitions between the keys with a dominant chord, rather than a tonic chord.