Now, let us take the chord of C, E, F-double-sharp and A-sharp. That chord of C, E, G, and B-flat, assuming a perfect cadence, would resolve to a chord of F, A and C in some arrangement.Ībove, we have seen that a chord of C, E, G and B-flat is a dominant seventh in F major. It does not matter what inversion that chord is then in - it might be in third inversion, where the B-flat is in the bass - one can still explain the chord by spelling it as a chain of thirds. C, E, G, B-flat (dominant seventh in F major). In accordance with triadic harmony, a dominant seventh chord should be spelled as a chain of thirds, eg. In an interrupted cadence it might resolve to chord VI (and outside of strictly 'tonal' music it might encounter different treatments), but it will still be built on V - which gives it the name 'dominant'. A dominant seventh chord is most commonly used at cadences, and is built on the fifth (dominant) degree of the scale - hence, the progression V 7-I. There are two key differences between dominant seventh chords and augmented sixth chords, despite the fact that they sound the same and use the same pitches: function, and spelling.

Dominant seventh in g flat major