seventh chord


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seventh chord

n
(Music, other) music a chord consisting of a triad with a seventh added above the root. See dominant seventh chord, diminished seventh chord, major seventh chord, minor seventh chord
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

sev′enth chord`


n.
a musical chord consisting of three thirds superimposed.
[1905–10]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.seventh chord - a triad with a seventh added
chord - a combination of three or more notes that blend harmoniously when sounded together
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
References in periodicals archive ?
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.
2) with an A-major seventh chord, a temporary respite without resolution.
Redemption always just a seventh chord away, riding on a blue note just slightly off the melody line of life.
But the tonal centers of D-sharp major and B major are close, and I marked the common tone A-sharp between the fifth of the D-sharp major chord and the third of the F-sharp seventh chord. I think we hear through.
Certain musicians - Billie Holliday, for example - were able to make a major seventh chord paradoxically work as a blues expression.
Broadly speaking, C major is used in connection with the realm of good, and D major with the natural world, while evil, unnatural forces are associated most strongly with C minor.(2) At the same time; the opera employs at least one virtually leitmotivic element in the F[sharp] diminished seventh chord associated with Samiel.(3) This chord is expressed not only as a simultaneity but also, in the Wolf's Glen scene of Act II, as a succession of tonal centres: F[sharp]-C-E[flat]-A-C-A-C-F[sharp].
The use of the diminished seventh chord as a shock tactic was killed off by nineteenth century piano music, but this does not mean that a contemporary piece without such chords is better than Beethoven.
It is more likely that the C supports an implied third-inversion seventh chord. In this context it would be an acceptable passing chord, and no less Mozartian than the progression in bars 26-7 of the 'Hostias'.
Ryan McClelland examines the use of the half-diminished seventh chord as an opening sonority in Johannes Brahms's lieder, while Leslie Kinton addresses motivic enlargement in Antonin Dvorak's Symphony no.