Nondominant seventh chord

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Dominant seventh (V7) and incomplete dominant seventh (viio) in C major: G7 and bo chords <phonos file="Incomplete dominant seventh chord in C major.mid">Play</phonos>.
III+_M^7 chord in C harmonic or ascending melodic minor[1] <phonos file="III+7M chord in C minor.mid">Play</phonos>.
Major seventh chord on F <phonos file="Major seventh chord on F.mid">Play</phonos>. IV7 in C major.[2]
File:Minor seventh chord on C.png
Minor-minor (i7) seventh chord on C[1] Audio file "Minor seventh chord on C.mid" not found.
File:Nondominant seventh chord resolution.png
Nondominant seventh chord resolution along a circle progression, the seventh resolves down by step to the third of the next chord: I7-IV[3] Audio file "Nondominant seventh chord resolution.mid" not found. B resolves to A.

In music theory, a nondominant seventh chord is both a diatonic chord and a seventh chord, but it does not possess dominant function,[2] and thus it is not a dominant seventh chord.

Since the V and viio chords are the dominant function chords,[2] the "major minor seventh" V7 and "half-diminished seventh" viiø7 are the dominant seventh chords. Since the nondominant function chords are I, i, ii, iio, iii, III, IV, iv, vi, and VI,[2] the nondominant seventh chord qualities include the augmented major seventh chord, major seventh chord, minor major seventh chord, minor seventh chord, and major minor seventh chords that do not possess dominant function, such as, in melodic minor, IV_m^7.

To analyze seventh chords indicate the quality of the triad; major: I, minor: ii, half-diminished: viiø, or augmented: III+; and the quality of the seventh; same: 7, or different: _M^7 or _m^7.[2] In macro analysis indicate the root and chord quality, and add 7, thus a seventh chord on ii in C major (minor minor seventh) would be d7.[1]

As with dominant seventh chords, nondominant seventh chords usually progress according to the circle progression, thus III+_M^7 resolves to vi or VI,[4] for example.

Nondominant seventh chords are, "found in large number," in popular music and jazz ("a legacy from the romantic period"), such as in this example from "Try To Remember" (The Fantasticks) by Harvey Schmidt (lyrics: Tom Jones)[4] Audio file ""Try To Remember" nondominant seventh chords.mid" not found. Note the circle progression derived root motion by fourths/fifths.

When possible, as in circle progressions, resolve the seventh of nondominant seventh chords down by step to the third of the following chord.[3]

ii7-V7-I turnaround in C <phonos file="ii7-V7-I turnaround in C.mid">Play</phonos>.

See also

Sources

  1. 1.0 1.1 1.2 1.3 Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.230. Seventh Edition. ISBN 978-0-07-294262-0.
  2. 2.0 2.1 2.2 2.3 2.4 Benward & Saker (2003), p.229.
  3. 3.0 3.1 Benward & Saker (2003), p.233-34.
  4. 4.0 4.1 Benward & Saker (2003), p.232.