![]() There are many types of seventh chords, but the one we’re currently interested in is called the dominant seventh chord, which consists of a major triad plus a minor seventh above the root. If we add a seventh to our A chord, we have A, C#, E and G. We can continue that process to make a seventh chord based on A. For example, let’s use an A chord in the key of D major. When we make a triad in a particular key, we begin with the root and use every other note. When we make a seventh chord, we simply add a line or space to that stack. In the example below, G is the root, and F is the seventh, stacked above the root (G), the third (B) and the fifth (D).Īs we discussed, a triad can be spelled as a stack of three consecutive lines or three consecutive spaces. To create a seventh chord, we’ll begin with a triad and add an interval of a seventh above the root. We can also use V7 to resolve to vi in what is called a “deceptive cadence.” Blues, jazz and rock also frequently use dominant seventh chords for degrees of the scale besides V. ![]() ![]() The resulting chord is called V7, or a dominant seventh chord. Adding a seventh to a V chord creates extra tension that increases our expectation that V will resolve to I. ![]()
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