D7 from mi. Dominant seventh chords - music theory

Seventh chord — A chord consisting of four sounds arranged in thirds. The extreme sounds of the seventh chord form the interval of the seventh, from which the name of the chord comes.

The most common seventh chord is built in major and harmonic minor on the 5th step. It is called dominant seventh chord. The dominant seventh chord consists of a major triad with a minor third added on top (b.3+m.3+m.3). The sounds of the dominant seventh chord, counting from the main one, are called: prima (the base of the chord), third, fifth and seventh (the top of the chord).

The dominant seventh chord is denoted as follows - V7:

The dominant seventh chord has three inversions, which are called: 1st inversion of the quintsext chord (6/5), 2nd inversion of the third quarter chord (4/3) and 3rd inversion of the second chord (2).

The names of the inversions of the dominant seventh chord are based on the intervals formed from the bottom sound of the chord to its base and top:

In order to be able to build a dominant seventh chord and its inversions in the key and from a given sound, it is necessary to know the order of the intervals that make up these chords, and the steps on which they are built.

D7- b.Z + m.Z + m.Z; at the 5th stage

D65 - m.Z + m.Z + b.2; on VII

D43 - m.Z + b.2 + b.Z; on II

D2 - 6.2+b.Z+m.Z; on IV

The dominant seventh chord and its appeals require permission. They are resolved according to the principle of gravity of unstable sounds into stable ones:

The dominant seventh chord resolves into an incomplete tonic triad with a missing fifth and a triple main sound

Quintsextaccord resolves into a full tonic triad with a double prima;

The third quarter chord resolves into a full tonic triad with the main sound doubled into an octave;

The second chord resolves into a tonic sixth chord with a doubled primo.

Build D7 with inversions and resolutions in the keys: G Major, E Minor, B Major, G Sharp Minor
Help me please! !!

See attachments for builds.

A bit of theory. D7 is the most important chord of the dominant function, which consists of four sounds arranged in thirds. Built in natural major and harmonic minor (VII#). Interval composition: b.3+m.3+m.3. Permission: incomplete tonic triad with tripled tonic.
D7 Appeals:
I. D65 - quintextaccord: m.3 + m.3 + b.2. Resolution: T53/t53 with double tonic.
II. D43 - third quarter chord: m.3 + b.2 + b.3. Resolution: full tonic triad (T53/t53)
III. D2 - second chord: b.2 + b.3 + m.3. Resolution: Tonic sixth chord (T6/t6) with doubled tonic

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Like any seventh chord, the dominant seventh chord (D7) has three appeals: quintsext chord (D65), third quarter chord (D43) and second chord (D2), which are used everywhere as dominant harmony, except for cadenzas , where D 53 (mainly in half middle ones) and D 7 (in full final and interrupted ones) are traditionally used. In the middle cadences after D53, you can use D2 with a passing or jumping seventh in the bass:

Voicing norms when using invocations, the same as when using the main dominant seventh chord: the VII degree (terts tone) and the II degree (fifth tone) are resolved in the I degree (I will accept tonics), the IV degree (septima) - in III (terts tone of the tonic), only the root tone, when resolving D 7 inversions into tonic chords, remains in place as stable and general.

Thus, D65 and D43 are resolved in T 53, D2 in T 6:

Like the main D7, its appeals can be complete and incomplete (without a fifth, but with a double prima), except D43, and with a sixth instead of a fifth. The sexta in D65 and D2, as in D 7, is usually used in the upper voice:

At moving D 7 and its inversions, as well as when moving from one type of chord to another (for example, D 65 to D 43), the seventh must either stay in place (hold) in one voice, or change places with a fifth:

Dominant Quintsext Chord (D65) can be used in the same cases as D6: as an auxiliary between T53, as well as with a passing and skipped seventh in a soprano:

This entry is currently under development

Build D7 with inversions and resolve them in C major, mm flat major, B major, A minor, C minor, G minor

Remember for yourself. Once and forever!

D7 - This is the dominant seventh chord. It is built on the 5th degree of the fret.
The dominant seventh chord is built in major, or in harmonic minor.
It is allowed in T3. (Incomplete triad)

Now, let's get to your problem.
D7 in C major with resolution.

Sol, Si, Re, Fa. -> Do, Do, Do, Mi.

D7 in E flat major with resolution.

Si (b), Re, Fa, La (b). -> Mi(b), Mi(b), Mi(b), Sol.

D7 in B Major with resolution.

Fa(#), La(#), Do(#), Mi. —> Si, Si, Si, Re(#),

D7 in A minor with resolution.

Mi, Sol(#), Si, Re. -> La, La, La, Do.

D7 in C minor with resolution.

Salt, C (bekar), Re, Fa. —> Do, Do, Do, Mi(b)

D7 in G minor with resolution.

Re, Fa#, La, Do. —> Sol, Sol, Sol, C(b)

Remember that the lower sound is allowed in D7 three times! And that UNSTABLE NOTES should be painted over with a pencil. And STABLE NOTES - do not touch with a pencil (meaning do not paint over).

And so I can now throw you your task. But there may be mistakes! (See above)

Website for students of E. A. Klimina. and not only

A tutorial video on this topic can be viewed here.

The inversions of the dominant seventh chord are formed in the same way as the inversions of the triads - by moving the lower sound up an octave.

The inversion of a dominant seventh chord is a chord of sounds with the same names as the dominant seventh chord, but with a different tone in the bass.

– The dominant seventh chord is denoted by D7, in the bass - the main tone, V step

– The dominant quint-sext chord is designated D65, in the bass - terts tone, VII (VII +) step

– The dominant third quarter chord is designated D43, in the bass - fifth tone, II step

– The dominant second chord is denoted by D2, in the bass – the tone of the seventh, IV step

Invocation Construction Principle D7 (G Major)

In order to get a dominant fifth chord, you need to take the top three sounds of the dominant seventh chord, write them again, and move the bottom one up an octave.

In order to get a dominant third quarter chord, you need to take the top three sounds of the dominant fifth chord, write them again, and move the bottom one up an octave.

In order to get a dominant second chord, you need to take the top three sounds of the dominant third quarter chord, write them again, and move the bottom one up an octave.

Remember the steps on which the dominant seventh chord and its inversions are built.

The D7 call resolution rule is practically the same as the D7 resolution rule itself. The only difference is that in D 7 the main tone goes to the tonic, and in three of its inversions it remains in place. The terts tone goes one step up and resolves to the first step. The fifth tone goes one step down and resolves to the first step. The seventh tone goes one step down and resolves to the third step.

Resolution rule D 7 and its appeals

Resolution of the dominant seventh chord The dominant seventh chord resolves into an incomplete tonic triad with a missing fifth tone and a triple main one. In Moscow, it is also commonly called the tonic third, which should be taken into account if you have to take entrance exams.

Resolution of a Dominant Quintsext Chord A dominant Quintsext chord resolves into a full tonic triad with a double root.

Resolution of the dominant third quarter chord The dominant third quarter chord resolves into an extended tonic triad. He also doubles the fundamental tone, but not in unison, but in an octave. Thanks to this, the triad turns out to be expanded to the width of an octave.

Dominant second chord resolution The dominant second chord resolves into a tonic sixth chord with the root doubled.

Dominant seventh chord inversions with resolutions in G major

And the most difficult thing in this topic is the construction of inversions of the dominant seventh chord from the sound. At the same time, the tone is not known in advance, and it must be determined in the process of completing the task. In order to cope with this, it is necessary to know, firstly, the interval structure of the dominant seventh chord and its inversions:

– Dominant seventh chord – b3 + m3 + m3

– Dominant quintextaccord – m3 + m3 + b2

– Dominant third quarter chord – m3 + b2 + b3

– Dominant second chord – b2 + b3 + m3

To build a dominant seventh chord from a given note or one of its inversions, you must first correctly calculate all three intervals that make up the chord. For resolution, it is necessary to determine the tonality. The tonic will be exactly a fifth below the fifth degree and half a tone above the seventh. By determining where the tonic is located, you can find out the key and its key signs. The dominant seventh chord or its appeal are resolved in major and minor of the same name. When resolving to a minor, it is necessary to remember the sign of the seventh harmonic step. The sign before this note will be in any case. Depending on the key, it will be back, sharp or double sharp.

An example of building a dominant seventh chord and its inversions with resolution in major from the sound D.

An example of building a dominant seventh chord and its inversions with resolution in minor from the sound of Re.

D7 with reversal and resolution in the keys of A flat major, F minor and E major, C sharp minor

Answers and explanations

MrsVaderr
main brain

Buildings in an attachment.

As-dur.
D7: mi♭-sol-si♭-re♭⇒ T3: la♭-la♭-la♭-do
D65: sol-si♭-re♭-mi♭⇒ T53: la♭-la♭-do-mi♭
D43: B♭-D♭-mi♭-sol⇒T53: la♭-do-mi♭-la♭
D2: re♭-mi♭-sol-si♭⇒do-mi♭-la♭-la♭

f-moll. VII# - mi bekar
D7: do-mi-sol-si♭⇒fa-fa-fa-la♭
D65: mi-sol-si♭-do⇒fa-fa-la♭-do
D43: sol-si♭-do-mi⇒fa-la♭-do-fa
D2: B♭-do-mi-sol⇒la♭-do-fa-fa

E-dur.
D7: si-re#-fa#-la⇒mi-mi-mi-sol#
D65: re#-fa#-la-si⇒mi-mi-sol#-si
D43: fa#-la-si-re#⇒mi-sol#-si-mi
D2: la-si-re#-fa#⇒sol#-si-mi-mi

cis-moll. VII# - si#.
D7: salt#-si#-re#-fa#⇒do#-do#-do#-mi
D65: b#-re#-fa#-sol#⇒do#-do#-mi-sol#
D43: re#-fa#-sol#-si#⇒do#-mi-sol#-do#
D2: fa#-sol#-si#-re#⇒mi-sol#-do#-do#

D7 with appeal and permission

Interval reversal.

Interval inversion - moving the lower sound an octave up or the upper one an octave down.

Accordingly, the lower sound becomes upper, and the upper sound becomes lower.

As a result of inverting the interval, a new interval is obtained:

pure intervals turn into pure ones, small intervals turn into large intervals, large intervals turn into small intervals, increased intervals turn into decreased intervals, decreased intervals turn into increased intervals. If you add this interval and its inversion, then the result is an octave. Therefore, the sum of the qualitative value of the intervals that turn into each other will always be equal to six tones, and the sum of the steps is equal to 9 (rule 9).

Dissonant and consonant intervals

Intervals are subdivided into consonant and dissonant intervals.

The word consonance in music means consonant, merging sound (consonance).

The word dissonance means dissonance, sharp, not merging sound.

Consonant intervals include: pure prima, pure octave, pure fourth, pure fifth, minor third, major third, minor sixth, major sixth.

Dissonant intervals include: minor second, major second, augmented fourth, diminished fifth, minor seventh, major seventh.

As a rule, all consonant intervals turn into consonant intervals, and dissonant intervals turn into dissonant intervals.

Tritons

Tritons are called intervals containing 3 tones: this is an increased fourth (sw.4) and a reduced fifth (um5).

typical intervals.

Characteristic intervals- these are increased and decreased intervals that are characteristic (i.e., occur) only for harmonic modes. The main characteristic intervals are:

Increased second (uv2) at the VI degree and reduced seventh (um7) at the VII degree

Characteristic intervals are unstable and necessarily resolve into stable intervals.

Unstable sounds of intervals turn into stable ones.

In this case, the increased intervals expand, and the reduced ones narrow.

Before MAJOR:

C minor:

D7 (dominant seventh chord) and its appeal

Seventh chord - A chord consisting of four sounds arranged in thirds. The extreme sounds of the seventh chord form the interval of the seventh, from which the name of the chord comes.

The dominant seventh chord is denoted as follows - V7:

The names of the inversions of the dominant seventh chord are based on the intervals formed from the bottom sound of the chord to its base and top:

D7- b.Z + m.Z + m.Z; at the 5th stage

D65 - m.Z + m.Z + b.2; on VII

D43 - m.Z + b.2 + b.Z; on II

D2 - 6.2+b.Z+m.Z; on IV

The dominant seventh chord and its appeals require permission. They are resolved according to the principle of gravity of unstable sounds into stable ones:

The dominant seventh chord resolves into an incomplete tonic triad with a missing fifth and a triple main sound

Quintsextaccord resolves into a full tonic triad with a double prima;

The third quarter chord resolves into a full tonic triad with the main sound doubled into an octave;

The second chord resolves into a tonic sixth chord with a doubled primo.

Can you tell me at what step the dominant seventh chord is built? Beginning solfegists sometimes ask me this question. How not to suggest? Indeed, for a musician, this question is like a catechism.

By the way, do you know the word catechism? Catechism is an ancient Greek word, which in the modern sense means a summary of any teaching (for example, religious) in the form of questions and answers. This article is also a circle of questions and answers to them. We will figure out at which stage D2 is built, and at which D65.

Question: At what stage is D7 being built?

Answer: D7 is a dominant seventh chord, it is built on the fifth step, consists of four sounds arranged in thirds. For example, in C major these will be the sounds: sol-si-re-fa.

Question: At what stage is the D65 being built?

Answer: D65 is the dominant fifth-sixth chord, the first inversion of the D7 chord. It is built from the seventh step. For example, in C major these will be the sounds: si-re-fa-sol.

Question: At what stage is the D43 being built?

Answer: D43 is a dominant tertz-quart chord, the second inversion of D7. This chord is built on the second step. For example, in the key of C major it is: re-fa-sol-si.

Question: At what stage is D2 built?

Answer: D2 is the dominant second chord, the third inversion of D7. This chord is built from the fourth step. In the key of C major, for example, D2 is located according to the sounds: f-sol-si-re.

In general, it would be nice to have a cheat sheet, looking at which you could immediately see where which chord is being built. Here is such a tablet for you, copy it into your notebook and then, it will always be at your fingertips.

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dominant seventh chord (D7)

Dominant seventh chord (D7)

The dominant seventh chord (D7) is a small major seventh chord on the 5th degree of major and harmonic minor. Along with II7 and VII7, D7 belongs to the group major seventh chords fret.

Dominant seventh chord can be complete, incomplete(without fifth tone, but with double prima) and with a sixth instead of a quint:

D7 predominantly used in the final cadence. His dissonant tone seventh(IV degree of the mode) in the third tone of the tonic . Quinta (II st.) is also allowed down, in I will take tonics. The third tone of the dominant seventh chord (VII century) can be resolved for a small second up into the tonic, but it can also be taken down a third, into the fifth of the tonic. Then D7 will resolve to full T53.

In a full perfect cadence, D7 is taken in one of three melodic positions: prima (incomplete D7), thirds and fifths (or sixths instead of fifths). D7 in melodic seventh position resolves to T53 in melodic third position, forming imperfect cadence,

With permission D7 in VI53(in an interrupted turn and in an interrupted cadence) the bass moves up for a second into the VI step, the rest of the sounds are resolved in the same way as with the resolution of D7 in T53: VII step - in I, II - in I, IV - in III. As a result in triad The VI step doubles the third tone.

After VI53, a subdominant group chord is usually used, harmonically connected to VI53. It is followed by an additional cadence.

When connecting the cadence quarter-sextakcord (K64) with D7, parallel fifths (ch5 and mind.5) can be formed, which allowed in this case.. Find these fifths in the following musical example:

Connecting D7 to the preceding chord

If D7 follows D53, then the seventh is introduced in a stepwise downward move from the fifth to the fourth degree in one of the upper voices. It turns out passing seventh (cm . musical example 2).

If D7 follows a subdominant (S) chord, then seventh (IV degree of mode) will be cooked (general sound) in one of the upper voices:

Melody harmonization example:

1. Find in the works of your repertoire D7.

2. Play the piano in all major keys of the circle of fifths cadence turns from musical examples.

3. Play the piano in all D7 major keys in third, fifth and prima melodic positions (incomplete) with resolution.

4. Find the passing sevenths in the above musical examples.

Classic cadence tools (K64 and D7)

Basic harmony course. Content
Cadence (or cadence) is called a melodic-harmonic revolution that completes the sentence and the period.

Cadence quarter-sextakcord (K64) is T64, used in authentic full, half and interrupted cadences before D. It is on a stronger beat than D and comes from a double retention to D53 and a triple to D7.

According to the sound composition, K64 is a tonic chord, but, being a delay to D, it performs a dominant function. The combination of two functions in a chord is called bifunctionality.

Traditionally K64 is placed between S and D (see note example above).

In texture, the K64 is located in the same way as the T53, but on a fifth tone in the bass. Therefore, in K64 it turns out double fifth tone, and not prima, as in a triad.

Travel K64 is performed in the same way as moving a triad:

Melody harmonization example:

Dominant seventh chord (D7) - this is a small major seventh chord on the 5th degree of major and harmonic minor. Along with II7 and VII7 D7 belongs to the group major seventh chords fret.

D7 in final cadence used more often than D53 because this is an unstable dissonant chord, actively gravitating towards the tonic. His dissonant tone seventh(IV Art.) always allowed one step down, in the third tone of the tonic . Quinta (II st.) is also allowed down, in I will take tonics. The third tone (VII st.) D7 can be resolved for a small second up into the tonic prima, or it can be taken down a third, into the fifth of the tonic. Then, with the resolution of D7, you get the full T53.

In a full perfect cadence, D7 is taken in one of three melodic positions: prima (incomplete D7), thirds, and fifths. D7 in melodic seventh position resolves to T53 in melodic third position, forming imperfect cadence, and this is an undesirable variant of the end of the period.

With permission D7 to the 6th degree triad (VI53), for example, in an interrupted revolution and in an interrupted cadence, the bass moves up for a second in the VI degree, the rest of the sounds are resolved in the same way as with the resolution of D7 in T53. Compare:

Stage VII - in I, II - in I, IV - in III. As a result in triad The VI step doubles the third tone. After VI53, a subdominant group chord is usually used, harmonically connected to VI53. It is followed by an additional cadence.

When K64 is connected to D7, parallel fifths (ch5 and mind5) can form, which allowed in this case..

Melody harmonization example:

1. Find cadence turns in the works of your repertoire and analyze their chords.

2. Play the piano in all major keys of the circle of fifths cadence turns from note examples 1-3, as well as the following cadence turn:

3. Play the piano in all major keys in close and wide arrangement with the following harmonic turns:

1) K64 D D7 T; 2) S K64 D D7 T; 3) S6 K64 D D7 T S T; 4) D7T; 5) K64 D7T;

6) S S6 K64 D7 T S T.

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summary of the lesson plan for solfeggio D7 with permission grade 4.docx

Summary of the lesson plan for the subject "Solfeggio"
Grade 4 (5-year course of study) DPOP
teacher MUDO "Ust Ordynskaya Children's Art School"
Beloborodova Victoria Viktorovna
Subject: D7 with resolution in harmonic minor and natural major
Purpose: to consolidate with students the construction of D7 with resolution in harmonic minor and
natural major
Tasks: 1. Educational:
Repeat the tone and step value of the intervals.
Sing simple intervals from the sound "d" up.
Sing the scale in B minor (3 types) up and down, in it the resolution of unstable steps in

D7 with resolution in harmonic minor and natural major is the rule.
Build and sing D7 with resolution in the keys of D major and B minor (harm.).
Playing on the D7 piano with resolution in the keys of D major and B minor (harm.).

Repeat rhythmic durations: dotted line, eighth and two sixteenths, two
sixteenth and eighth.
No. 280 (I part) - tap the rhythm, sing from a sheet with tapping the rhythm and conducting.
Tap a rhythmic exercise using the rhythm of an eighth note and 2 sixteenth notes in
¾ size on Sat. M. Kartavtseva. Solfeggio XXI century.

2. Educational: to educate students in a conscious attitude to construction and intonation
D7 with resolution in harmonic minor and natural major.
3.Developing: hearing, rhythm, speech, memory, thinking.
Methods:
illustrative, musical generalization.
Equipment: piano, board, crayons.
Handout: keyboards, pencils, erasers.
List of literature and teaching aids
retrospectives,
visual,
verbal,
comparisons,
explanatory
Educational and methodical literature
1. Lazareva I.A., Kazantseva I.V. The program of the subject PO.02.UP.01.
"Solfeggio" additional pre-professional general education
programs in the field of musical art "Folk Instruments", for
15th grade students. The implementation period is 5 years. – Ust Ordynsky, 2015
2. N. Fedotova "Learning by playing" (solfeggio in the primary classes of music school). – Irkutsk,
2001.

3. I. Sposobin. Elementary Music Theory. – M.: Kifara, 1998.
4. B. Kalmykov, G. Fridkin. Solfeggio. Part I. Monophony. - M.: Music, 1985.
5. B. Kalmykov, G. Fridkin. Solfeggio. Part II. Double voice. - M.: Music, 1985
6. J. Metallidi, A. Pertsovskaya Musical dictations for music school. 4th ed. – L.:
"Music", 1986.
List of educational materials
1. Visual aids for working at solfeggio lessons: Keyboard, column, tonal
"thermometer", manuals on intervals, on the topic D7 with permission.
2. Cards of musical notation: Т5/3, Т6, Т6/4, S5/3, D5/3.
During the classes
Vocal intonation skills
1. Sing the scale in B minor (3 types) up and down, in which the resolution of unstable steps in
steady, opening sounds, t53s5/3D5/3.
2. Sing intervals from the sound "d" up.
3. Sing D7 with resolution in the keys of D major and B minor (harm.).
Theoretical information
1. Repeat the tone and step value of the intervals.
2. D7 with resolution in harmonic minor and natural major. D7 has 4 sounds,
arranged in thirds, is built on the 5th degree, resolves into an incomplete tonic
triad with triple prima. D7 is based on a major triad, and extreme sounds
form an interval of m.7, according to its structure it is called a small major seventh chord.
D7=b.3+m.3+m.3 or B5/3+m.3.
Step composition D7: VVIIIIIV.
3. Build D7 with resolution in the keys of D major and B minor (harm.).
4. Playing on the D7 piano with resolution in the keys of D major and B minor (harm.).
Solfegging and sight singing
Sing No. 220 with accompaniment, No. 46 - sing in 2 voices.
No. 280 (I part) - sing from a sheet with tapping rhythm and conducting.
Cultivating a sense of rhythm
Repeat rhythmic durations: dotted quarter and eighth, eighth and two
sixteenths, two sixteenths and an eighth.
No. 280 (I h.) - tap the rhythm.
Tap rhythmic exercise in ¾ time:

Melodic dictation No. 182, key D major, time 2/4.
Education of creative skills
Selection of accompaniment to dictation No. 182, using the passed chords.
D / s
1. Build, play and sing D7 with resolution in the keys of Adur, fismoll (harm.).
2. Dictation No. 182 to play and sing with accompaniment.
3. No. 280 - learn by heart.

Homework in solfeggio, listening to music and musical literature

Monthly Archives: September 2015

Homework for Monday, October 7th

1st class (13:30-14:10)

1) Baeva Zebryak. No. 6 (Magpie) = sing and clap with the name of the notes (G and F).
No. 7 - sign the notes (mi, fa, sol). Sing and clap with the words, with the name of the notes.
2) to know that the treble clef is the key of salt. Kalinina 1st class. pp.4-5. draw treble clef, quarter notes and eighth notes.
3) play the piano all the notes - from DO to DO and sing them.

Grade 3 (14:20-15:20)

1) Varlamova Semchenko. p. 28 ex. 1,3, 5. Ex. 1 p.28 - write T53 for all keys.
2) Sing No. 35 and 37 - p. 29

4th grade (15:30-16:30)

1) Build in the key of F sharp minor (d) D7 with appeals and permissions. In writing.
2) No. 260 sing by heart. Find D7 and play his appeals on the piano with permissions.
3) No. 262 sing. Find D7 and play his appeals on the piano with permissions.

Grade 5 (16:40-17:40)

do the work on the bugs.

Grade 5 (17:50-18:50)

do the work on the bugs.
build from the note "to" D7 and resolve it into the desired key. Make appeals D7 with permission.

ATTENTION! Your group changes the day of the week - we will study on Fridays, 19:00-20:00, Room 315!
(Starting next week)

From the note "la" build D7, D65, D43, D2. Determine the tone and resolve.

Homework for November 2, Friday

Grade 2 (16:40-17:40)

1. Kalinina 2nd grade. pp.16-18.
2. Sing the natural and harmonic scale in A minor (Baeva-Zebryak p. 42) up and down, the tonic triad in A minor and introductory sounds.
3. Baeva-Zebryak. No. 161 or 166 sing by heart to choose from. For evaluation.

4th grade (17:50-18:50)

Build D7 and its inversions (D 65 - D 43 - D2) in the keys: F# minor (d), A major, B flat minor (d), D flat major. For evaluation.
Chain (D43 T53 D7 T3 S64 T53) to play and sing in the keys: E major, C sharp minor (d), A flat major, F minor. For evaluation.
Bring Davydov's 5th grade textbook! You can download it here: Davydova_Solfeggio_5_klass

Grade 6 (19:00-20:00)

1. In the keys of F # minor and C # minor, build SW.2 and W.7 with resolution.

2. From the note G, build SW.2, determine the key (harmonic minor) and resolve. Turn into mind.7 and resolve.

3. Kaluga 6th grade. sing number 91.

Homework for September 28, Monday

1st class (13:30-14:10)

Homework 1st grade.
1) clap "Sun" - long notes (syllables) on the desk, short ones - in your hands.

2) Baeva, Zebryak. Clap and sing nos. 6 and 7.

Grade 3 (14:20-15:20)
1. Varlamova-Semchenko. Page 19-20, music example No. 19 - sign all harmonic intervals in the right hand part (two sounds sounding simultaneously).
2. p.22 to sing with conducting No. 29.

3. p.23 task 2.

4th grade (15:30-16:30)

Sing and play in the keys of C, G, F, D major D7 and its appeal.
Construct writing D7 in G minor (g), B flat major with invocations and permissions.

Grade 5 (16:40-17:40)

Grade 5 (17:50-18:50)

Construct written in A-flat major D7 and its handling permissions.
Sing and play D7 and its invocations with permissions in the passed keys (mandatory in E flat, B flat, A, E majors;
F sharp, C minor (harmonic).
3. high-quality homework is the key to your success in a small test on the D7 topic with appeals and permissions. Good luck!

Grade 4 for 5 years (19:00-20:00)

Textbook! Kaluga 6 class bring urgently!
Construct written in D flat major D7 with invocations and permissions.
From the note "fa" build D7 and its inversion. Determine tones.

Homework for September 25, Friday

Grade 2 (16:40-17:40)

1) Baeva-Zebryak. No. 171 sing by heart with conducting.

2) in D major, build from all steps: part 4, part 5 and sixths (determine which of them will turn out to be large - 4.5 tones, and which small - 4 tones).

4th grade (17:50-18:50)

Build from E flat uv.4 and resolve in three keys. Make an appeal to SW.4 (it will turn out mind.5) - resolve in the same three keys and sign on which steps in these keys you built these intervals.
Chain (D43 T53 D7 T3 S64 T53) to play and sing in keys with 4 signs.
In E major, play and sing D7 with invocations and permissions.
Bring Davydov's 5th grade textbook!

Grade 6 (19:00-20:00)

Build from G-flat uv.4 and resolve in three keys. Make an appeal to SW.4 (it will turn out mind.5) - resolve in the same three keys and sign on which steps in these keys you built these intervals.
Bring a textbook! Kaluga 6th grade. You can download here - Kaluzhskaya_Solfeggio_6kl

Homework for September 21, Monday

1st class (13:30-14:10)

Grade 3 (14:20-15:20)
1. Varlamova-Semchenko. Read pp. 18-20.

2. sing nos. 17 and 18 on p.18.

3. do exercises 2 and 3 on page 21.

4th grade (15:30-16:30)

play and sing the chord chain T53 S6 D7 T3 in D major in B minor, A major in F sharp minor.
Construct writing D7 in E minor (d), A major with invocations and resolutions.

Grade 5 (16:40-17:40)

(D7 on V, D65 on VII, D43 on II, D2 on IV).

Grade 5 (17:50-18:50)

Finish the class work (determine the tone).
Build in E major D7 and its handling permissions.
From the G note build D7 and its inversion. Determine tones.
(D7 on V, D65 on VII, D43 on II, D2 on IV).

Grade 4 for 5 years (19:00-20:00)

Construct in E major D7 with invocations and permissions.
Sing in E major T53, T6, T64.
From the note "re" build D7 and its inversion. Determine tones.
(D7 on V, D65 on VII, D43 on II, D2 on IV).

annasolf.wordpress.com

How to build d7 with resolution

Website for students of E. A. Klimina. and not only

A tutorial video on this topic can be viewed here.

The inversions of the dominant seventh chord are formed in the same way as the inversions of the triads - by moving the lower sound up an octave.

The inversion of a dominant seventh chord is a chord of sounds with the same names as the dominant seventh chord, but with a different tone in the bass.

– The dominant seventh chord is denoted by D7, in the bass - the main tone, V step

– The dominant quint-sext chord is designated D65, in the bass - terts tone, VII (VII +) step

– The dominant third quarter chord is designated D43, in the bass - fifth tone, II step

– The dominant second chord is denoted by D2, in the bass – the tone of the seventh, IV step

Invocation Construction Principle D7 (G Major)

In order to get a dominant fifth chord, you need to take the top three sounds of the dominant seventh chord, write them again, and move the bottom one up an octave.

In order to get a dominant third quarter chord, you need to take the top three sounds of the dominant fifth chord, write them again, and move the bottom one up an octave.

In order to get a dominant second chord, you need to take the top three sounds of the dominant third quarter chord, write them again, and move the bottom one up an octave.

Remember the steps on which the dominant seventh chord and its inversions are built.

Resolution rule D 7 and its appeals

Resolution of a Dominant Quintsext Chord A dominant Quintsext chord resolves into a full tonic triad with a double root.

Dominant second chord resolution The dominant second chord resolves into a tonic sixth chord with the root doubled.

Dominant seventh chord inversions with resolutions in G major

– Dominant seventh chord – b3 + m3 + m3

– Dominant quintextaccord – m3 + m3 + b2

– Dominant third quarter chord – m3 + b2 + b3

– Dominant second chord – b2 + b3 + m3

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In this lesson, we will try to understand four-sound chords. I hope you have already mastered the game a little? If yes, then it's time to move on, the negative answer sends you straight to Lesson #5 (to reinforce the material about chords).

So let's continue.

Four-note chords are chords that consist of four notes.

In fact, four note chords are no more difficult to play than three note chords. You will soon see this for yourself.

Seventh chords are best played with the little finger, middle finger, index finger, and thumb (5-3-2-1).

If at first you find it difficult to play four notes accurately without accidentally hitting adjacent keys, don't worry. You know exactly what you are striving for, and therefore you will soon hit only the right keys. In most cases, the cause of such "misses" is not a lack of fluency, but fear. Yes, yes, it is fear that binds your fingers, preventing you from playing chords correctly, it is fear that makes them stiff and clumsy.

One piece of advice - relax and enjoy the correct and pure play of beautiful pieces. Let it take someone ten minutes, and someone ten hours, but the result will exceed all your expectations and you can easily play any chords.

The most common chords, and the most important, are seventh chords. They are called so because the extreme sounds form it. The seventh chord consists of four sounds arranged in thirds.

There are seven types of seventh chords, but we will get acquainted with only a few of them:

Grand major seventh chord
Small major seventh chord
Diminished seventh chord
Augmented seventh chord
Small minor seventh chord

Many modern pianists play the grand major seventh chord even where the sheet music only indicates a major triad. The big seventh chord sounds modernistic, so it is not very suitable for songs like “The Little Christmas Tree is Cold in Winter” :-). However, in some modern songs it sounds excellent.

To build this chord, you need to add a major third to the major triad (b. 3). As a result, this seventh chord is a combination of thirds - b.3 + m.3 + b. 3 The sound of a chord is quite sharp due to the fact that its extreme sounds form an interval of a major seventh (extremely dissonant interval).

This chord is denoted by a large Latin letter with the addition of maj7 to it. For example: Cmaj7, Dmaj7, Fmaj7 etc.

Note that the seventh of a major seventh chord is a note a semitone below the root note of the chord. For example, the seventh of the Dmaj7 chord is C-sharp, Gmaj7 is F-sharp.

Try playing a beautiful chord progression that includes a grand major seventh chord. Such a sequence, even if it is not indicated in the notes, you can try to play in any place where any major chord is sustained for a long time. Take a major triad on the keyboard first, and then add a seventh to it from above to get a large major seventh chord. And go back to the original chord.

The grand major seventh chord is not that common in popular songs. It is beautifully used by I. Dunayevsky in the famous "March" from the movie "Jolly Fellows" (see the first measure of the song). Don't try to play the entire song just yet, practice alternating F and Fmaj7 chords.

Small major seventh chord (dominant seventh chord)

This chord is built by adding a minor third to a major triad (m. 3). It is also called dominant seventh chord. Now I will add to you a little theory about the dominant seventh chord. Don't be scared, this explanation will give you useful information that you can appreciate later. You don't have to memorize technical terms, the main thing is to catch the essence, which will help you pick up the accompaniment to your favorite songs by ear.

So, each note of the scale has its own name, which describes its relationship to the tonic, or to the main note of the tonality. The second note is usually called the second note, the third note is the median, the fourth note is the subdominant, the fifth is the dominant, and so on, as shown in the illustration below.

Roman numerals are often used to indicate chords built on certain scale steps. That is, chords in C major can be denoted by letters - C, G, C, F - or denoted by the numbers I, V, I, IV, or called "tonic, dominant, tonic, subdominant." Roman numerals are more convenient because they avoid the rather clumsy verbal names of the steps.

We already know from previous lessons that the main steps of the mode are I, IV and V steps, respectively, and the chords on these steps will be the main ones - tonic, subdominant and dominant. Instead of a dominant triad, a seventh chord is usually taken, it sounds more beautiful and richer in terms of harmonic sound. Let's take a closer look at this chord.

Dominant seventh chord

In the scale of C major (C), the note G will be the dominant note. Therefore, the dominant seventh chord of key C is the dominant seventh chord built from G, or G7. Since dominant seventh chords, like any other chords, are built from the notes of the key to which they belong, the notes of the dominant seventh chord from G (G7) must be taken from the C major scale. (Now we consider the note G precisely as the fifth degree of the key of C major, and not as the tonic of the key of G major or the second degree of the key of F major).
In order for a chord to be called a seventh chord, the interval between its extreme sounds must be equal to the seventh. Here are the notes of the C major scale, from which we will build the dominant seventh chord:

The seventh interval from the dominant G gives us F as the top note of the chord.

The easiest way to find the right notes of a dominant seventh chord is to imagine that its top note is a tone below the root note. For example, the seventh of a D7 chord would be C (C); C7 chord - B-flat (B).

Another way to find the notes of the dominant seventh chord is to compare it with the grand major seventh chord you already know: you just need to lower the top note of the grand major seventh chord by half a step:

To better understand these two seventh chords, play the following sequence: take a triad and double its root an octave above with your thumb, like this:

Now move your thumb down a semitone to make a big major seventh chord from to (Cmaj7), like this:

Then move your thumb down another semitone to make a dominant seventh chord, like this:

Follow the same sequence, starting with a root-doubled triad, from the seven chords below:

C - Cmaj7 - C7
F-Fmaj7-F7
B - Bmaj7 - B7
Eb–Ebmaj7–Eb7
G-Gmaj7-G7
D-Dmaj7-D7
A-Amaj7-A7

After playing the above sequences several times, you may have noticed that some of them are easy to remember, while others are difficult. However, there is nothing wrong with the fact that sometimes you have to stop and think for half a minute. When you start playing your chosen songs, you will find that the "complex" chords will be remembered easily and firmly, like the simplest triads. Beautiful sounding melodies of your favorite songs will greatly improve your memory.

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D7 from mi. Dominant seventh chords - music theory

Build D7 with inversions and resolutions in the keys: G Major, E Minor, B Major, G Sharp Minor
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Build D7 with inversions and resolve them in C major, mm flat major, B major, A minor, C minor, G minor

D7 with reversal and resolution in the keys of A flat major, F minor and E major, C sharp minor

Answers and explanations

D7 with appeal and permission

Interval reversal.

Dissonant and consonant intervals

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Dominant seventh chord (D7)

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Classic cadence tools (K64 and D7)

summary of the lesson plan for solfeggio D7 with permission grade 4.docx

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Monthly Archives: September 2015

Homework for Monday, October 7th

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How to build d7 with resolution

Small major seventh chord (dominant seventh chord)

Dominant seventh chord

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Build D7 with inversions and resolutions in the keys: G Major, E Minor, B Major, G Sharp Minor Help me please! !!

solfamusictheory

This WordPress.com. site is about music theory and methodology

Post navigation

Build D7 with inversions and resolve them in C major, mm flat major, B major, A minor, C minor, G minor

D7 with reversal and resolution in the keys of A flat major, F minor and E major, C sharp minor

Answers and explanations

D7 with appeal and permission

Interval reversal.

Dissonant and consonant intervals

solfamusictheory

This WordPress.com. site is about music theory and methodology

dominant seventh chord (D7)

Post navigation

Dominant seventh chord (D7)

Share this:

Classic cadence tools (K64 and D7)

summary of the lesson plan for solfeggio D7 with permission grade 4.docx

Homework in solfeggio, listening to music and musical literature

Monthly Archives: September 2015

Homework for Monday, October 7th

Homework for November 2, Friday

Homework for September 28, Monday

Homework for September 25, Friday

Homework for September 21, Monday

How to build d7 with resolution

Small major seventh chord (dominant seventh chord)

Dominant seventh chord

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Build D7 with inversions and resolutions in the keys: G Major, E Minor, B Major, G Sharp Minor
Help me please! !!