HARMONY 4 Dominant 7th Chords without Dominant Function
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HARMONY 4Dominant 7th Chords without Dominant Function
LEARNING OUTCOMES
➤ By the end of today’s session, students will be able to:
➤ Describe the parameters for dominant 7th chords without dominant function
➤ Analyse examples of contexts in which dominant 7th chords without dominant function occur
➤ Create appropriate chord scales for dominant 7th chords without dominant function
DOMINANT CHORDS WITHOUT DOMINANT FUNCTION
➤ Any dominant chord that:
➤ Is built on scale degree other than 5
➤ Has no expectation to resolve down a perfect 5th or down a 1/2 step
➤ Also called special function dominants or colour chords
MUSICAL CONTEXT
➤ Dominant chords without dominant function occur in specific situations related to style, harmonic rhythm, placement on strong/weak stress points, position in the form and phrase, tensions and duration
➤ These dominant chords will have a Roman numeral analysis based on their scale degree.
➤ Dom7 chords without dom function that we have already discussed:
➤ I7
➤ IV7
➤ ♭VII7
REVIEWI7, IV7, bVII7
I7
➤ Tonic function taken from blues context
➤ Found on strong and weak stress points
➤ Usually not found with related IIm7
➤ Can move to any other chord
➤ Typically moves to IV
Copyright © 1963, 1964 NORTHERN SONGS LTD. (UK)
E7
Well, she was just
E7
sev en- tenn,- and you know
A7
what I mean,
E7
And the5
way she looked was way be yond- com pare
B7
-9
E
13
17
21
25
29
c&#### ∑
Dominant 7 chords without dominant function - I7 - IV7 - I7
∑ ∑
I SAW HER STANDING THEREJohn Lennon and Paul McCartney
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Œ œ œnJ œ œJ
œ Œ œJ œn œJ œ Œ ‰ œJ œ œ Œ œJ œn œJ œ Œ Œ œ œn
œ œn œ œj ‰ œ œ œJ ‰ ‰ œJ œn œ œn œ œ Ó
IV7
➤ Subdominant function taken from blues, melodic minor, or dorian minor
➤ Often found on relatively weak stress points
➤ Often of equal duration to the I chord
➤ Usually moves directly back to I
➤ Uses Lydian ♭7 chord scale in melodic minor, mixolydian in
dorian minor and blues
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™™ ™™A‹7/G D9/F© A‹7/G D9/F©
5
A‹7/G D9/F© A‹7/G D9/F© A‹7/G
9
O
A‹7/G
ye- co mo va
D9/F©
mi rit mo.- Bue
A‹7/G
no- pa' go za-
D9/F©
mu la- ta.13
O
A‹7/G
ye- co mo va
D9/F©
mi rit mo.- Bue
A‹7/G
no- pa' go za-
D9/F©
mu la- ta.17
A‹7/G D9/F© A‹7/G
21
™™ ™™A‹7/G D9/F© A‹7/G D9/F©
23
44&
OYE COMO VACarlos Santana
&
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&Repeat x3
?J ‰ ?J ‰ ‰ ?J ‰ ?J Œ ‰ ?J ‰ ?J Œ ?J ‰ ?J ‰ ‰ ?J ‰ ?J Œ ‰ ?J ‰ ?J Œ
?J ‰ ?J ‰ ‰ ?J ‰ ?J Œ ‰ ?J ‰ ?J Œ ?J ‰ ?J ‰ ‰ ?J ‰ ?J Œ ‰ ?J ‰ ?J Œ
?J ‰ ?? ‰ ??? ‰ ???? ?? ?J ‰ ?J ‰ ?? ‰ ?J ‰ ?J ?J ‰ Œ ?J ‰
œ œ œ œ ˙ Œ ™ œJ œ œ œ œ œ œ ˙ Œ ™ œj œ œ
œ œ œ œ ˙ Œ ™ œJ œ œ œ œ œ œ ˙ Œ ™ œj œ œ
?J ‰ ? ? ‰ ? ? ? ‰ ? ? ? ? ? ?
?J ‰ ?J ‰ ‰ ?J ‰ ?J Œ ‰ ?J ‰ ?J Œ ?J ‰ ?J ‰ ‰ ?J ‰ ?J Œ ‰ ?J ‰ ?J Œ
♭VII7
➤ Subdominant minor function taken from parallel natural minor
➤ Found on relatively weak stress points
➤ Uses lydian ♭7 in major, and mixolydian in minor
➤ Frequently preceded by IVm7
➤ Typically moves up a 1/2 step to I
➤ Sometimes found as a V7/♭III dual function in major key
(♭VII)⤵
➤ ‘Tenderly’ - Walter Gross https://www.youtube.com/watch?v=kX44kShaTa0
OTHER DOM7 CHORDS
WITHOUT DOM FUNCTION
VII7, III7, bVI7, II7, VI7, bIII7, bV7
II7, III7, ♭VI7, VI7, VII7
➤ These dominants most clearly have non-dominant function when they move cadentially to I, IV, or an alteration of IV
II7
➤ Usually heard as V7/V
➤ Can be heard as II7 when it resolves to I, or:
➤ In first inversion II7/3 it resolves to IV or IVm
III7
➤ Not commonly found
➤ Looks like V7/VI
➤ When placed on a strong stress (without it’s IIm7), and placed between I and IV, it can be heard as a III7
VII7 ANALYSE AND COMPARE:
H4 pg 36
VII7
➤ Can function as a reharmonisation of Io7 - when it’s used like this it can be preceded by it’s related IIm7(b5).
➤ Cadences back to Imaj7
♭VI7
➤ Looks the same as subV7/V BUT:
➤ It doesn’t resolve to V7 - it resolves to I or I/5
➤ It is almost always preceded by I and sometimes it’s related IIm7
➤ Can be located on a strong stress and last for several bars
VI7
➤ Looks like a V7/II
➤ Can resolve to IV or #IVm7(b5)
♭III7 AND ♭V7
➤ These chords are based on blue notes
➤ bIII7 can function as a bluesy alternative to bIIImaj7, not commonly found
➤ Some progressions containing dominant chords without dominant function are based solely on blues type root motion patterns. I.e.
➤ Proud Mary
➤ Sittin’ on the Dock of the Bay
SUMMARYChord Non Dominant Function Resolution
ChordNon Dominant Chord Scale Dominant
Function
I7 tonic blues N/A blues, mixolydian, or lydian♭7 (with ♯9)
V7/IV
IV7subdominant blues or SD melodic minor or dorian minor
Iblues, lydian♭7, or
mixolydiansubV7/III
♭VII7 subdominant minor I lydian♭7 in major,
mixolydian in minorsubV7/VI
♭VI7 altered subdominant minor
I lydian ♭7 or mixolydian subV7/V
II7 altered subdominant I mixolydian or lydian ♭7 V7/V
VII7 cadential I mixolydian or lydian ♭7 V7/III
III7 cadential or altered tonic IV mixolydian or lydian ♭7 V7/VI
VI7 cadential or altered tonic IV or ♯IVm7(♭5)
mixolydian or lydian ♭7 V7/II
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