![]() If we change this minor v chord to major we get the chord E (E, G♯, and B). For example, in the key of A minor, the v chord derived from the notes of the key is Em (the notes E, G, and B). When we change the minor v to a major or dominant V we raise its third. v to i in a minor key has a weaker sound of G moving to A (a whole-step) where G♯ to A (a half-step) would be stronger.īecause of this weakness in minor keys, composers and songwriters often change the minor v chord to a major triad or dominant 7th chord to produce a stronger resolution of V to i. The minor v chord in the key of A minor is Em spelled E-G-B. In a natural minor scale the 7th is a whole-step below the tonic of the scale.įor example, in the key of A minor (A, B, C, D, E, F, G), G is a whole-step below A. Why? It's because the third of the minor v chord falls a whole-step below the tonic. In minor keys, the v chord happens to be minor, and the minor v chord to minor i chord doesn't produce the same kind of tension that a major triad or dominant V chord produces. Why am I going on and on about a major scale progression when this block of lessons is focused on minor harmony? Because the harmony of the natural minor scale is missing this powerful sound. This makes for a powerful chord progression.Īgain, listen to the I-V-I progression with the 7th added to the V chord: So, in this V7-I progression there is a tense tritone interval (3rd & 7th) in the V7 chord, and those two tense notes each resolve chromatically to the root and third of the tonic chord. ![]() The seventh, F, descends a half-step to the E of the C chord (C E G). The 7th of the V chord descends a half-step to the third of the I chord.įor example, in the key of C the V7 chord would be G7 (G B D F). When we play the V chord as a dominant 7th chord (often written V7) in the V7-I chord progression, one more smooth half-step connection occurs between the notes of the two chords. ![]() It is called a “tritone” because the notes are 3 whole-steps apart. For example, on a G7 chord (G B D F) the B and F form the dissonant tritone interval. This dominant 7th chord creates a lot of tension due to the dissonant interval between the 3rd and 7th of the chord. Remember, the dominant 7th chord structure is root, 3, 5, flat 7. The seventh chord built on the V in a major key is a dominant 7th chord. Adding a Seventh to the V ChordĪn even stronger relationship is created when you use the seventh chord built on the V of the major key. This half-step connection is the heart of the authentic (V-I) cadence. The same relationship happens in all major keys when you go from the V chord to the I chord. Listen to this example where I play the major scale pausing on the leading tone: If you play up the notes of a major scale and pause on the leading tone, you will notice the tension of the leading tone wanting to resolve up a half-step to the tonic. The leading tone is so named because it leads a listener's ear to the tonic. For example, in the key of C major (C, D, E, F, G, A, B, C) the leading tone is B and the tonic is C. In every major key, the leading tone-the seventh note-is always a half-step below the tonic, or first note, of the key. “Tonic” is another name for the first note of the scale. The “leading tone” is another name for the seventh of the scale. These two important notes are called the leading tone and the tonic. The satisfying resolution comes from two important notes inside of the V and I chords which are a half-step apart and smoothly connect from one to the next. What is it that creates tension in the V chord which pleasingly resolves to the I chord? A cadence is a harmonic or melodic structure at the end of a phrase or section of music. In music theory this V-I progression is known as an authentic cadence or full cadence. The tension of the dominant V chord resolves to the tonic I chord. Music's strongest harmonic movement is found in major keys where the V chord moves to the I chord. Then, I will explain how the same sound is often applied in minor keys. First, we will review how V chords work in major keys. Let's look at what happens in this special situation. In minor keys, however, there is a frequent harmonic “adjustment” made where the minor v chord of the natural minor scale is changed into a major triad or dominant 7th chord. The notes in these chords all come from the A natural minor scale. For example, in the key of A Minor the chord built on the fifth of the scale is an Em (E G B) or Em7 (E G B D). The v chord, when derived from the notes of the natural minor scale, falls as a minor triad or minor 7th chord. Minor keys revolve around the natural minor scale. In minor keys, there is more to understand about the v chord.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |