Small letters are for minor and diminished chords. Capital letters are for the major chords. Roman numerals indicate the position of each of these chords. Let’s list all of these chords according to Roman numerals. Blues players regularly substitute major chords for dominant seventh chords, for example: a I-IV-V progression in the key of G would normally be G MA, C MA and D 7, Blues players may change this to G 7, C 7 and D 7. These chords are Bmaj7, Cmin7, Dmin7, Ebmaj7, F7, Gmin7 and Am7b5. The tonality of a dominant seventh chord is somewhat dissonant and unresolved when played as the V chord resolving to the I, but is frequently used as the I chord particularly in Funk and Blues styles. Authentic cadence is achieved when the dominant seventh chord is resolved to the tonic chord (for example: G 7 to C MA). The dominant seventh chord is built upon the fifth degree of the harmonized major scale (tetrads), and is widely used in all styles of music. Generally written as C 7, C dom 7 or C7, it is good practice to simply use an uppercase C and a super scripted 7 to represent it in writing (ie: C 7). A dominant seventh chord is composed using a root/1 st, major 3 rd, perfect 5 th and minor 7 th (or R/1-3-5- ♭7) intervals played simultaneously.
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