Ex­am­ple7 UP­PER STRUC­TURE TRIADS FOR DOM­I­NANT CHORDS

Guitar Techniques - - INTRO -

As stated pre­vi­ously the V7-I re­la­tion­ship is the strong­est cadence in func­tional tonal har­mony. Since there is such an ex­pec­ta­tion that the V7 chord will re­solve, it can tol­er­ate all sorts of dis­so­nance be­fore re­solv­ing (so long as it can still be heard as a dom­i­nant 7 chord). In fact, the essence of a dom­i­nant 7 chord is the ma­jor 3rd and mi­nor 7th. (B and F in a G7 chord). So long as a ma­jor 7th (F#) and to a lesser ex­tent a 4th (C) is avoided, any other note can be added. This means that a num­ber of triads can be su­per­im­posed in a dom­i­nant con­text to cre­ate ten­sion while main­tain­ing its func­tion. Here are some ex­am­ples be­low (all com­mon har­mon­i­cally and in melodic im­pro­vi­sa­tion in jazz). The brack­eted chords show the chord name if slash chords weren’t used.

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