### Chords III (Practise).

##### Practising with Dominant seventh Chords.

It is time now, that one tries to understand the circle of fifths concept. We have seen before, that the function of the dominant chord is to "smoothly land" on the tonic chord by an opposite motion from its seventh and third degree going upwards and downwards to the tonic chord. (See Chord II). The example below evolves through the circle of Fifths down a 5th. We start with C major, then proceed to F thus covering all the Circle of Fifths chords. (See picture below).

Note that:

• C chord (I degree) is the starting Key. (in red)
• Next, we have C7 chord (dominant V7) that belongs to F Key and lasts two bars. (in orange)
• C7 resolves on F by two semitones motion.  (E - Bb)  Tritone.
• F becomes now the New tonic or key (I degree).
• Next, we have F7 chord (dominant V7) that belongs to Bb Key and lasts two bars. (in green)
• F7 resolves on Eb by a two semitones motion.  (A - Eb)  Tritone.
• Eb becomes the New tonic or key (I degree).
• We can carry on until we reach C again.
• This technique is called, modulating to the dominant using neighbouring chords.
• Full video below.

### The Dominant Substitutes.

##### Tritone Sharing exemple: in red, F note, in G7 and Db7 chords. In brown, B note in G7 and Db7 chord.

The Dominant Seventh (V7) chords and The Substitute Dominant Chords (Sub V7) Table:

On the left row, we find, the dominant (V7) chords and on the right row, we have, the Subdominant chords (SubV7). See Tritone in the middle of the table. Notice, that C7 and F#7 share the same triton, however not in the same position or sense.