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The dominant seventh chord is frequently used to approximate a harmonic seventh chord, which is one possible just tuning, in the ratios 4:5:6:7 [1] Play ⓘ, for the dominant seventh. Others include 20:25:30:36 Play ⓘ , found on I, and 36:45:54:64, found on V, used in 5-limit just tunings and scales.
The major seventh chord, sometimes also called a Delta chord, can be written as maj 7, M 7, Δ, ⑦, etc. The "7" does not have to be superscripted, but if it is, then any alterations, added tones, or omissions are usually also superscripted. For example, the major seventh chord built on C, commonly written as Cmaj 7, has pitches C–E–G–B:
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The most common chords are tertian, constructed using a sequence of major thirds (spanning 4 semitones) and/or minor thirds (3 semitones). Since there are 3 third intervals in a seventh chord (4 notes) and each can be major or minor, there are 7 possible permutations (the 8th one, consisted of four major thirds, results in a non-seventh augmented chord, since a major third equally divides the ...
Using the V7 or V chord (V dominant 7, or V major) is typical of most jazz and pop music regardless of whether the key is major or minor. Though the V chord is not diatonic to a minor scale, using it in a minor key is not usually considered "borrowing," given its prevalence in these styles.
A secondary dominant (also applied dominant, artificial dominant, or borrowed dominant) is a major triad or dominant seventh chord built and set to resolve to a scale degree other than the tonic, with the dominant of the dominant (written as V/V or V of V) being the most frequently encountered. [5]
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In music, the dominant 7 ♯ 9 chord [1] ("dominant seven sharp nine" or "dominant seven sharp ninth") is a chord built by combining a dominant seventh, which includes a major third above the root, with an augmented second, which is the same pitch, albeit given a different note name, as the minor third degree above the root.
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