Putting the D (Dominant) Function into Practice
Last time, we used the true tonic and subdominant of each major key and checked their functions.
This time, let's use the remaining chords built on the dominant (V and V7 in a major key) to make chord progressions more dramatic.
*Some consider that only V7, which contains the tritone, has the function of a dominant chord.
In this course, we treat the chords built on the dominant as dominant chords, and consider V7 stronger than V.
First, let's check where the dominant sits and its degree names.
The ones circled in red are the dominants.
Within the major diatonic chords, the D (dominant) chord is a chord with instability and tension.
So it has a very strong pull back to the stable "T (tonic)" chord.
A chord progression flowing from instability to stability like this creates what is called a "sense of cadence", the feeling that things have come to a pause or ended (especially when returning to I).
Many of you were probably reminded of the tritone by the words "instability and tension."
So you can say that V7 has a stronger pull back to the stable tonic than a plain V.
Also, "dominant" means "ruling," and the movement "V, V7 → I, Imaj7" also has the effect of making the key of a song clear.
Building Progressions with T, SD and D
Now let's actually listen.
We'll connect a D → T flow after the T → SD samples from last time.
This time too, we'll use the key of C major.
Pay attention to the difference in sound between V and V7 as well.
- I → IV → V → I (C → F → G → C)
- I → IV → V7 → I (C → F → G7 → C)
- Imaj7 → IVmaj7 → V → I (Cmaj7 → Fmaj7 → G → C)
- Imaj7 → IVmaj7 → V7 → I (Cmaj7 → Fmaj7 → G7 → C)
What did you think?
You should have felt that adding the unstable dominant makes the landing on the I tonic more solid, and that "using V7 makes this tendency even stronger."
In your own compositions, it's also good to try various things to suit the mood of the song, such as "Let's create strong instability here to strengthen the resolution to I."
Paying Closer Attention to the Difference Between V and V7
Last time, you heard a flow that continued from T to SD; this time, let's continue the D.
We'll also change from V to V7 partway through, so pay attention to that as well.
- T → SD → D (V) → D (V7) (C → F → G → G7 → C)
- Piano-only version
V has a moderate sense of instability, but V7 raises the tension further, and you want to settle down quickly.
As expected, the tritone that V7 has and V doesn't has a big effect.
And when it's drawn out this long, it becomes even clearer that the stability when returning to the I tonic is distinctly different from SD.
Summary
Finally, as a review, let's summarize the characteristics of T, SD and D.
- T = Tonic
It is the central presence in the key. It has a strong sense of stability and is often used as the chord that begins or ends a song.
- SD = Subdominant
It has a character between T and D and can add color and a sense of development to a chord progression.
Moving from T to SD creates new development in the chord progression and also gives a floating feeling.
Using it before D makes the sense of resolution at T smoother and stronger.
- D = Dominant
It has a very strong pull back to I = T = the tonic chord.
Returning from the dominant to the tonic gives what is called a "sense of cadence", the feeling that the chord progression has come to a pause or ended (especially when returning to I).
And in terms of instability, tension and pull back home, V7 is stronger than V.
Next time, let's learn about various movements of T, SD and D, and about cadences.
Frequently Asked Questions
Q1. What is the difference between a V chord and a V7 chord?
Both have a dominant function, but because of the tritone (augmented fourth) that V7 contains, V7 has stronger instability and tension. So V7 has a stronger pull to resolve to the tonic than V, and the "sense of cadence" becomes clearer.
Q2. In what situations should dominant chords be used?
They are effective when you want to add tension to a song or create a "coming to a pause" feeling with a resolution to the tonic. Using them especially near the end of a song can create a strong sense of completion.
Q3. Can the order of T, SD and D be decided freely?
Basically it's free, but using D after SD in the order SD → D tends to make the resolution to the tonic smoother and give a more effective "sense of cadence." It's important to experiment to suit the mood of the song.
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