dominant seventh chord


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dominant seventh chord

n
(Music, other) a chord consisting of the dominant and the major third, perfect fifth, and minor seventh above it. Its most natural resolution is to a chord on the tonic
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17-19 of "Star vicino" uses a second inversion dominant seventh chord as a passing function to connect the tonic triad in root position and first inversion.
Midway through, after one has taken a breath and reentered on the dominant, a dominant seventh chord in second inversion appears in the bottom staff.
In the first four bars the C major leads to a minor seventh chord on the 2nd degree, then to the dominant seventh chord, and back to tonic.
Using simple explanations, exercises, examples, and graphics, he teaches them about the staff, clefs, ledger lines, and musical alphabet; intervals; major and minor scales; notation of rhythm and meter; harmony; inversions; how to write four-part harmony; the dominant seventh chord; and cadences.
The A[natural] in measure 9 forms set class 4-27 (0258) with its accompanying pitch classes, E[flat], F, and C--this dominant seventh chord is a transposition of B[flat] D F A[flat] and a transposed inversion of D F A[flat] C, both subsets of the referential collection.
One, entitled "Scat and Interpretation," contains exercises for scatting--even for choosing syllables--as well as singing exercises based on the blues scale and the dominant seventh chord. Shapiro encourages singers to exercise hearing skills as well as singing skills.
80 contributes to the unease by dropping the dynamic to pianissimo and changing the harmony to an E[flat] dominant seventh chord. Instead of repeating the exact phrase structure of second theme group and risking another cadence in the minor mode, the horn bursts out with a crescendo to f and the introduction of a new module.
--One bar of the dominant seventh chord ([C.sup.7]).
This allows for the melody to begin on a dominant seventh chord in m.
Smith also tries to synthesize different philosophical ideas, including Hegel's "force," Schopenhauer's "will," and Freud's drive theory, to explain the unresolved dominant seventh chords that open the piece (pp.
Chapter 3 is also organized like Chapter 1, but uses the blues scale and dominant seventh chords.

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