---
title: "V⁷ (Dominant Seventh) — AP Music Theory Definition"
description: "V⁷ is the dominant seventh chord, a major-minor seventh built on scale degree 5. Learn its quality, why the chordal seventh must resolve down, and how it's tested."
canonical: "https://fiveable.me/ap-music-theory/key-terms/v7"
type: "key-term"
subject: "AP Music Theory"
unit: "Unit 3"
---

# V⁷ (Dominant Seventh) — AP Music Theory Definition

## Definition

V⁷ is the dominant seventh chord in AP Music Theory, a major-minor (Mm7) seventh chord built on the fifth scale degree. It combines a major triad with a minor seventh, and that seventh is a chordal dissonance that pulls down by step when the chord resolves to tonic.

## What It Is

V⁷ is the Roman numeral label for the [dominant seventh chord](/ap-music-theory/key-terms/dominant-seventh-chord "fv-autolink"). Build a major triad on scale degree 5, then stack a [minor seventh](/ap-music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2 "fv-autolink") on top. The CED calls this quality **major-minor seventh (Mm7)**, and it's the only one of the five common seventh-chord qualities that gets a nickname ("dominant seventh") because it shows up almost exclusively doing dominant-function work. In C major, that's G-B-D-F.

What makes V⁷ special is the tension baked into it. The [chord](/ap-music-theory/unit-3/triad-chord-qualities-m-m-d-a/study-guide/C2Wj35yXuDEj0tYdyQcc "fv-autolink") contains two unstable notes at once. The leading tone (scale degree 7) wants to rise to tonic, and the chordal seventh (scale degree 4) wants to fall to scale degree 3. The CED calls a note like that seventh a **chordal dissonance**, a chord member with a natural inclination to resolve. Those two tendency tones form a tritone, and resolving that tritone is what makes V⁷ → I feel so conclusive. Think of V⁷ as a dominant triad with the "resolve me" dial turned up.

## Why It Matters

V⁷ lives in **Topic 3.4 (Seventh Chords)** in **[Unit 3](/ap-music-theory/unit-3 "fv-autolink"): Music Fundamentals III**, supporting learning objective **3.4.A**, which asks you to describe a seventh chord's quality in both performed and notated music. Per **PIT-2.C.1**, the major-minor seventh is one of the five qualities you have to recognize by ear and by eye, alongside MM7, mm7, ø7, and °7. And **PIT-2.C.2** is the reason V⁷ matters beyond labeling. Its [chordal seventh](/ap-music-theory/key-terms/chordal-seventh "fv-autolink") is the textbook example of a chordal dissonance, which sets up everything you'll do with voice leading later in the course. If you can't spot a Mm7 chord and know which note is the seventh, the part-writing units fall apart.

## Connections

### Seventh Chord Qualities (Unit 3)

V⁷ is one specific case of the five seventh-chord qualities in Topic 3.4. Quality is the abstract sound (Mm7); V⁷ is what you call that sound when it sits on [scale degree](/ap-music-theory/key-terms/scale-degree "fv-autolink") 5 in a key. Same chord, two levels of description.

### Cadences and Dominant Function (Unit 4)

An [authentic cadence](/ap-music-theory/key-terms/authentic-cadence "fv-autolink") is V (or V⁷) moving to I. Adding the seventh strengthens the cadence because now the tritone between the leading tone and the chordal seventh has to resolve, making the arrival on tonic feel inevitable.

### Voice Leading the Chordal Seventh (Unit 5)

In [four-part writing](/ap-music-theory/key-terms/four-part-writing "fv-autolink"), the seventh of V⁷ resolves down by step to scale degree 3, and the leading tone resolves up to tonic (at least in outer voices). This is the chordal dissonance rule from PIT-2.C.2 turned into an actual part-writing requirement.

### Secondary Dominants like V⁷/V (Unit 7)

Once you know V⁷ in the home key, secondary dominants are just V⁷ borrowed to point at a different chord. Any Mm7 chord you spot that isn't built on scale degree 5 is a giant clue you're looking at a secondary dominant.

## On the AP Exam

V⁷ shows up everywhere on the AP Music Theory exam. In multiple choice, you'll identify seventh-chord quality from notation and by ear (aural stems play a chord and ask whether it's Mm7, MM7, mm7, ø7, or °7; the Mm7 sound is the one with that unmistakable tug toward resolution). In the part-writing free-response questions, you realize figured bass and Roman numerals in four voices, and V⁷ is almost guaranteed to appear. Graders check that you spelled the chord correctly, resolved the seventh down by step, and handled the leading tone properly. Harmonic dictation also leans on V⁷ heavily, since hearing the dominant seventh is how you locate cadences in real time. The practical skills: spell V⁷ in any major or minor key (remember to raise the leading tone in minor), identify Mm7 quality by ear, and resolve the tendency tones correctly in part writing.

## V⁷ vs Major seventh chord (MM7)

Both start with a major triad, but the major seventh chord (MM7) adds a major seventh on top while V⁷ adds a minor seventh. That one half step changes everything. MM7 sounds lush and stable (think jazzy and relaxed), while Mm7 contains a tritone and sounds like it urgently needs to go somewhere. On ear-training questions, listen for tension. If the chord feels restless, it's the dominant seventh.

## Key Takeaways

- V⁷ is a major-minor seventh chord (Mm7) built on scale degree 5: a major triad plus a minor seventh.
- The CED lists Mm7 as one of five common seventh-chord qualities, and it's called the dominant seventh because it almost always carries dominant function.
- The seventh of the chord (scale degree 4) is a chordal dissonance, which means it has a natural inclination to resolve, specifically down by step to scale degree 3.
- V⁷ contains a tritone between the leading tone and the chordal seventh, and resolving that tritone is what makes V⁷ → I sound so final.
- In minor keys you must raise the leading tone to build V⁷, otherwise you get a minor-minor seventh chord with no dominant pull.
- Spotting a Mm7 chord on a scale degree other than 5 is the fastest way to identify a secondary dominant in Unit 7.

## FAQs

### What is a V⁷ chord in AP Music Theory?

V⁷ is the dominant seventh chord, a major triad on scale degree 5 with a minor seventh added on top (Mm7 quality). In C major it's spelled G-B-D-F, and it resolves to the tonic chord.

### Is V⁷ the same as a major seventh chord?

No. V⁷ is a major-minor seventh (major triad plus minor seventh), while a major seventh chord is major-major (major triad plus major seventh). In C major, G⁷ is G-B-D-F, but Gmaj7 would be G-B-D-F♯. They sound completely different: Mm7 is tense, MM7 is stable.

### Why does the seventh of V⁷ have to resolve down?

The seventh is what the CED calls a chordal dissonance, a chord member with a natural inclination to resolve. In V⁷ that note is scale degree 4, and it resolves down by step to scale degree 3 of the tonic chord. Failing to do this loses points on the part-writing FRQs.

### How do I build V⁷ in a minor key?

Raise scale degree 7 to create the leading tone. In A minor, V⁷ is E-G♯-B-D, not E-G-B-D. Without the raised leading tone you'd have a minor-minor seventh chord, which doesn't function as a dominant.

### How can I hear the difference between V⁷ and the other seventh chords?

Listen for tension that demands resolution. The Mm7 quality contains a tritone, so it sounds restless and bluesy compared to the smooth MM7 and mm7 chords. Diminished sevenths (ø7 and °7) are even more dissonant, but they lack the bright major triad on the bottom that V⁷ has.

## Related Study Guides

- [3.4 Seventh Chords](/ap-music-theory/unit-3/seventh-chords/study-guide/B6sXD4UR0kMGf7fdp3S2)

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