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When is a Dominant Seventh Chord NOT a Dominant Seventh?
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Players will often refer to ALL seventh chords as dominant or dominant seventh chords. In the key of C major when referring to the G or G7, this is correct. But - Dominant, in this context does refer to the chord's harmonic function within its scale and harmony. So, unless you can determine that seventh chord is functioning as a V or dominant chord in the tonality. The chord is just a seventh chord and does not need the additional dominant designation.
To determine the function of a chord, you need to do a harmonic analysis (HA) which is beyond the scope of this article.
Here are the traditional function names of the scale degrees of a diatonic major scale:
- First note and chord: Tonic
- Second note and chord: Supertonic
- Third note and chord: Mediant
- Fourth note and chord: Subdominant
- Fifth note and chord: Dominant
- Sixth note and chord: Submediant
- Seventh note and chord: Leading/Subtonic
We don't call other seventh chords Tonic Seventh, Supertonic Seventh, Secondary Dominant, etc... Dominant is the harmonic function of a chord - NOT part of its name.
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Learning Core Seventh Chords on `Ukulele
Beyond basic open position chords, basic movable form chords and a core set of 4-part chords. There are just too many chords shapes too memorize. Learning the principles of how chords are constructed and the ukulele fingerboard are the way to go. Then you can create more advanced chords like 9#11, 7#5-9, 13b5, 7+9 on the fly as needed.
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The Advanced Guide to Chord Progressions for Ukulele - Volume I
Before individual chords become the background of songs, they must be put into orders called chord progressions. The Advanced Guide to Chord Progressions for Ukulele organizes progressions according to string family, position, voice leading and chord magnetism. The Advanced Guide to Chord Progressions for Ukulele is an excellent preparation for the art of melody and chord on the ukulele and more advanced accompaniment.
Learning the Ukulele Fingerboard - C Tuning
Finally, learn the names of the notes of the fingerboard. Learning the notes of your instrument allows you the flexibility of not having to remember so many shapes. There are simply way too many chords, scale and notes patterns, and shapes to remember. It all comes down the notes.
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Blue Bossa is an instrumental jazz composition by Kenny Dorham (August 30, 1924 - December 5, 1972). It was introduced on Joe Henderson's 1963 album Page One. A blend of hard bop and bossa nova, the tune was possibly influenced by Dorham's visit to the Rio de Janeiro Jazz Festival in 1961. The tune has since been recorded numerous times by different artists, making it a jazz standard.
Don't Get Around Much Anymore
Don't Get Around Much Anymore is a jazz standard with music by Duke Ellington and lyrics by Bob Russell. The tune was originally titled "Never No Lament" and was first recorded by Ellington in 1940 as a big band instrumental. Russell's lyrics and the new title were added in 1942.
Giant Steps is a jazz composition by John Coltrane, first appearing as the first track on the album of the same name (1960). The composition is a milestone in jazz, given the difficulty of improvising its rapid progression of chord changes that progress through three keys (see Coltrane changes) shifted by major thirds, creating an augmented triad.
Satin Doll - is a jazz standard written by Duke Ellington and Billy Strayhorn with lyrics by Johnny Mercer. Written in 1953, the song has been recorded countless times, by such artists as Ella Fitzgerald, Frank Sinatra, 101 Strings, and Nancy Wilson. Its chord progression is well known for its unusual use of chords and opening with a ii-V-I turnaround.
St. Thomas - This is perhaps the most recognizable instrumental in the repertoire of American jazz tenor saxophonist Sonny Rollins, who is usually credited as its composer. However, it is actually based on a traditional nursery song from the Virgin Islands, which Rollins' mother sang to him when he was a child. As such, it has a distinct Caribbean vibe to it.
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