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If, for example, a piece is written in the key of C major, then the tonic key is C major and the dominant key is G major since G is the dominant note in C major. [9] "Essentially, there are two harmonic directions: toward I and toward V. These primary diatonic triads form the harmonic axis of tonal music." [10]
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. The dominant (seventh) of the dominant (written as V 7 /V or V 7 of V) is the most frequently encountered. [5]
In the Baroque period, D major was regarded as "the key of glory"; [1] hence many trumpet concertos were in D major, such as those by Johann Friedrich Fasch, Gross, Molter (No. 2), Leopold Mozart, Telemann (No. 2), and Giuseppe Torelli. Many trumpet sonatas were in D major, too, such as those by Corelli, Petronio Franceschini, Purcell, and
This chord progression instructs the performer to play, in sequence, a C major triad, an A minor chord, a D minor chord, and a G dominant seventh chord. In a jazz context, players have the freedom to add sevenths , ninths , and higher extensions to the chord.
This spells a triad by skipping over D and F. While the interval from each note to the one above it is a third, the quality of those thirds varies depending on the quality of the triad: major triads contain a major third and perfect fifth interval, symbolized: R 3 5 (or 0–4–7 as semitones) play ⓘ
This dominant seventh chord is useful to composers because it contains both a major triad and the interval of a tritone. The major triad confers a very "strong" sound. The tritone is created by the co-occurrence of the third degree and seventh degree (e.g., in the G 7 chord, the interval between B and F is a tritone).
In this final dominant-to-tonic progression, the leading tone normally ascends by semitone motion to the tonic scale degree. [14] A dominant seventh chord always consist of a major triad with an added minor seventh above the root. To achieve this in minor keys, the seventh scale degree must be raised to create a major triad on the dominant. [15]
The diminished triad can be used to substitute for the dominant seventh chord. In major scales, a diminished triad occurs only on the seventh scale degree. For instance, in the key of C, this is a B diminished triad (B, D, F). Since the triad is built on the seventh scale degree, it is also called the leading-tone triad.