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Why is it important to know about dominant seventh chords? The Dominant 7 Chord is an extremely important chord because it defines “key”. Before we explore the function of this chord, let us see how it is constructed.

Construction

The notes, by number, in a dominant 7 chord are: 1 3 5 b7. If we plug in notes from the C Major scale, we get C E G Bb. Using the same formula, the D7 chord would contain the notes D F# A C.

Of course, if you are to be able to use this formula to construct dominant seventh chords in all 12 keys, you must be thoroughly familiar with key signatures. In fact, memorizing the key signatures for all twelve major keys is probably the most important first step toward a working knowledge of music theory.

The dominant seventh chord is the chord you want to use when you are told to play “C7″. Construct this chord by starting with the MAJOR TRIAD and adding the flatted seventh note in the scale.

Function

The Dominant 7 Chord functions as a “V” chord.

This means that in a chord progression, this is the chord that is built upon the fifth note in the scale. For example, a G7 chord is built on the 5th note of the C MAJOR scale and therefore is the V chord in the key of C.Let’s try another one: What is the V chord in the key of “D”? The fifth note in the “D” scale is “A”, so the V chord in the key of D is A7.

The V chord determines the key because it occurs only ONCE in each key. For example, if you see the chord “E7″, you KNOW you are in the Key of “A” because “E” is the fifth note of the “A” major scale.

What if you see the chord “B7″? If you said that you are in the key of “E”, you are absolutely right because “B” is the 5th note in the “E” scale.

Try another one–what key are you in if you see a “C7″ chord?

Of course, to apply this formula to all 12 keys, you again need to know the Key Signatures.

If you would like more detailed information about chord formulas and music theory, there are extensive free lessons in the theory section of my website:

http://www.may-studio-music-lessons.com/music-theory-basics.html

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Minor Chord Progression is a little more complicated than a chord progression in a major key because there are three forms of the minor scale. These three forms are called Natural minor, Harmonic minor and Melodic minor. In order to know which chords to use with these scales, you must first understand how they are constructed.

The “Natural Minor Scale” is formed by flatting the 3rd, 6th, and 7th notes of the major scale. For example, the “A” natural minor scale is: A B C D E F G A. The chords that result from this form of the minor scale must contain notes that are consistent with the notes in the scale. In other words, since the scale has no sharps or flats, the chords that result from the scale must also have no sharps or flats. When we build chords based on these scale tones, we get these chords: Am Bdim C Dm Em F G. Play these chords and you will see that they are made up entirely of “white keys”–no sharps or flats.

If we alter the notes in the Natural Minor scale, we must also alter the notes in the resulting chords, and we have different chords.

The “Harmonic Minor Scale” is formed by sharping the 7th note of the Natural Minor Scale. Thus the “A” Harmonic Minor Scale is: A B C D E F G# A .When we sharp the “G’s”, the chords resulting from the harmonic minor scale are: Am Bdim Caug Dm E F G#dim. Play these chords and you will see that whenever a “G” occurs in a chord, that G is sharp.

The “Melodic Minor Scale”, often known as the “Jazz Minor Scale” is formed by raising the 6th and 7th notes of the Natural Minor Scale. To continue with our examples in the key of “A”, the notes would be: A B C D E F# G# A. If we sharp the “F’s” and the “G’s”, the following chords would result: Am Bm Caug D E F#dim G#dim. It is important to understand that the Melodic minor scale takes this form when ascending, but reverts to the natural minor scale when descending. The chords, therefore, must reflect that change.

Transposing to other keys: In order to determine the chords for minor scales in keys other than “A” minor, you must know the key signatures of all of the major scales. Beginning musicians will often dismiss or postpone the memorizing of the key signatures in favor of more “exciting” musical pursuits. The key signatures, however, are the very BASIS of music construction. Memorize them NOW. It is not that difficult. Once you know the major scale key signature, you can follow the above described formulas to create all three forms of the minor scale in any key. Then just plug the names of the notes into the chord patterns outlined for the key of A minor.

I have created printable charts for all of the chords for the three forms of the minor scale in all 12 minor keys. These charts are written in both piano notation and guitar chord symbols. You can see them here: www.may-studio-music-lessons.com/minor-chord-progression.html

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Do you have a song that you would love to sing but it is just too high or too low? Or is one of your band’s songs not right for your singer? It is easy to “transpose” the song to a more suitable key. Here are two ways!

TRANSPOSE A SONG BY SCALE DEGREE: For this method, you need to be familiar with chord progressions**. The steps to transpose a song in this manner are:1. Determine the scale degree of each chord. For example, if the chords in the song are: G / Am / Bm / C / Am / Em / D7 / G, then the scale degrees of the chords would be : I / ii / iii / IV / ii / vi / V7 / I. 2. Apply the scale degrees to the new key. To change this progression from the old key of “G” to a new key–”A”, for example, just apply the scale degrees to the new key. The above progression in the key of “A” would be : A / Bm / C#m / D / Bm / F#M / E7 / A.

NOTE: This method works best if the chord progression of the song remains in the same key throughout the song.

TRANSPOSE A SONG BY INTERVALS: For this method, you need to be familiar with intervals**. The steps to transpose a song by this method are:1. Determine the intervals between the chords. For example: G to A is a second; A to B is a second; B to C is a minor second; C to A is a sixth; A to E is a fifth; E to D is a flatted seventh (or a major 2nd DOWN); and D to G is a fourth. 2. Apply the intervals to a new key. For example, if you want to change the above progression from G to E, start with E and go up a second to F#; then up a second to G#; up a minor 2nd to A; up a sixth to F#; up a fifth to C#; up a flatted seventh (or down a major 2nd) to B; and up a fourth to E. 3. Apply the “chord qualities” (Major, minor, dominant 7th, etc.) from the old chords to the new chords. The progression transposed to the new key of E will be: E / F#m / G#m / A / F#m / C#m / B7 / E.

NOTE: With this method, you can transpose any song, even if it changes keys several times.

**Informational pages about chord progressions, key signatures, and intervals can be found at the author’s website–see the link below.

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