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dominant seventh (G7) is the major chord with an added seventh minor, and it's an approximation of the harmonics 4 (C),5 (E),6 (G),7 (A sharp) centered in C. The A sharp is in reality quite distant from the seventh harmonic, but that's a compromise of using a 12 notes system. major seventh (Gmaj7) is the major chord with an added seventh major ...
That's because G7 - a.k.a. G dominant 7th - is a chord from the C key, not its own G key. I know that sounds adaft, as we find G7 in lots of songs that are in G. However, most times, the following chord is C (or Cm), so the G7 needs the 7th part of it to be from key C rather than its own key,G.
Often the 5th ( D) is excluded from the G7 chord to avoid parallel fifths in the voice-leading.So using 4 notes in a Dominant seventh chord such as G7 we are left with 2 main possibilities : GGBFor GBDF This is the case with all Dominant seventh chords. Depending on your instrument I would use whichever 7th chord sounds best and is easiest to play.
So a G/F# is a G-chord, but specifically an inversion of a G-chord with the F# in the bass. Since a G-chord with an F in it is actually a G7 chord, you might have more luck looking for G7/F. Or you could just roll your own by taking a G-chord and moving the bass note down two frets.
In the key of C major, G7 is the dominant seventh chord, meaning that it has a particular function. In music theory, the dominant seventh chord appears at the point of the musical phrase that has the most musical tension. After the appearance of this chord, the music has a strong tendency to want to resolve itself by being followed by the tonic ...
This will be a G7b9 chord. Where the 9th is flattened from A to Ab. So, the whole chord has pitches G B D F Ab. Although the "-" sign is sometimes used to denote a minor chord (a chord with a minor 3rd), it can also be used to denote a minor, flattened or diminished interval in a chord. For example -5 for b5, or in this case -9 for b9.
The G major chord is the "usual" dominant in the key of C minor. The harmonic point is the half-step approach to the note C from B. It is extremely common. As a side note, often, when a phrase is repeated like Cm-Fm-Bb-Gm-Cm-Cm-Fm-Bb-G7-Cm would be common.
In a ii-V-I progression, the Imaj chord is often delayed with a Idim chord as this example shows. The C diminished chord could be a rootless voicing for D7(♭9), F7(♭9), A♭7(♭9), or B7(♭9), but none of those would have the same function as the Cdim7 in bar 3. Moreover, using an F altered scale would probably sound quite odd in measure 3.
I've come across music that has a "G+7(♭9)". At first I thought this was just an odd way of writing G7(♭9), however there IS a G7(♭9) chord in the song as well. I feel that since they're named differently, they must have some distinction, but I don't know what.
A complete G7 chord in staff notation would contain an arbitrarily-selected "G" note, an arbitrary (possibly empty) subset of the "G" notes that appear in higher octaves, an arbitrary non-empty subset of the "B" notes that appear above the lowest "G", and an arbitrary non-empty subset of the "D" notes that appear above the lowest "G", and an arbitrary non-empty subset of the "F" notes that ...