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Dominant Seventh Chords

When is a Dominant Seventh Chord NOT a Dominant seventh?

When is a Dominant Seventh Chord NOT a Dominant seventh?

First lets define the term dominant. In the case of chords Dominant refers the harmonic function ( ? ) of a chord within a chord progression. A chord's function is determined by the chord(s) preceding and following the chord.

Harmony

In Western music, harmony is the use of different pitches simultaneously, and chords, actual or implied, in music. The study of harmony may often refer to the study of harmonic progressions, the movement from one pitch simultaneity to another, and the structural principles that govern such progressions. In Western Music, harmony often refers to the "vertical" aspects of music, distinguished from ideas of melodic line, or the "horizontal" aspect. For this reason, considerations of counterpoint or polyphony are often distinguished from those of harmony, though contrapuntal writing of the common practice period of western music is often conceived and defined in terms of underlying harmonic motion.

source WidipediA:

So, unless you can determine the seventh chord is functioning as a V chord in the current tonality. The chord is just a seventh chord and does not need the additional Dominant designation.

To determine the function of a chord you need to do a harmonic analysis and is beyond the scope of this article. For more information on harmonic analysis and chord function see my book:

Dominant In music, the dominant is the fifth degree of the scale. For example, in the C major scale (white keys on a piano), the dominant is the note G; and the dominant chord uses the notes G, B, and D. In music theory, the dominant chord in its root position is symbolized with the Roman numeral V.

WidipediA link

Here are the names of the scale degress of a diatonic ( ? ) scale:

Diatonic & Chromatic

Diatonic and chromatic are terms in music theory that are most often used to characterise scales, and are also applied to intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900.

The diatonic intervals are usually understood as those between some pair of notes both drawn from the same diatonic scale. Intervals that cannot be so derived are, by this way of thinking, called chromatic intervals.

The modern major and minor scales are diatonic, as were all of the 'church' modes.

source WidipediA:

  • First note: Tonic
  • Second note: Supertonic
  • Third note: Mediant
  • Fourth note: Subdominant
  • Fifth note: Dominant
  • Sixth note: Submediant
  • Seventh note: Leading/Subtonic
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We don't call other chords Tonic Seventh, Supertonic Seventh, etc...

There is also such a thing as Secondary Dominant

Secondary Dominant (also applied dominant) is a type of chord used in musical harmony. It refers to a dominant of a degree other than the tonic. Of these chords, V (G major) is said to be the dominant of C major (the dominant of any chord is the one whose root is a fifth higher). However, each of the chords from II through VI also has its own dominant. For example, VI (A minor) has the dominant of E major. These extra dominant chords are not part of the key of C major as such because they include notes that are not part of the C major scale. Instead, they are the secondary dominants.

WidipediA link

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