How to Play Dominant 7th Chords

As a guitarist, you’ll hear a lot about dominant 7th chords (sometimes referred to as “dominant 7” chords). One of the functions of these types of chords is to create a sense of tension in a song. These chords are neither a major chord (which typically has a brighter tone), nor a minor chord (characterized by a darker, more foreboding tone). Instead, they’re a mix of the two.

Now, you can’t just slap a 7 on the end of any chord and call it a dominant seventh chord. To alleviate any confusion, a dominant 7th chord should not be confused with a major 7th chord or a minor 7th chord. Just because a “seventh” interval is tacked on doesn’t make it dominant. Rather, there’s a specific structure to creating a dominant 7 chord. We’ll cover that, as well as specific dominant 7th chords, and several different songs that make use of these chords in their structure.

Let’s get started!

What Notes Make Up a Dominant 7th Chord

Dominant 7th chords are made up of four notes: the first, third and fifth notes of a given scale - plus a flattened 7th note from that scale. A flat 7th is a half-step down from what would be a full seventh note.

You would use this formula to construct a dominant 7th chord and it will universally apply, regardless of what scale you use to create your chords: 1 - 3 - 5 - b7

What Are the Dominant 7th Chords

Now that you know how to build dominant 7 chords, as well as their function, let’s run down the list of dominant 7th chords. (To learn more about each of these chords, finger positionings for these dominant 7th chords, and specific songs that include them, click on the links below.)

C7 / D7 / E7 / F7 / G7 / A7 / B7

Songs That Use Dominant 7th Chords

Whether you’re a fan of rock, learning to play the blues, or enjoy a good pop tune - dominant 7th chords are everywhere and are an integral part of the structure of many of your favorite songs. Let’s take a look at how they’ve been used in various eras and genres of music to create tension and a memorable tune.

The Early Days of Rock 'n’ Roll: Dominant 7th Chords

Dominant 7th chords are a major fixture of rock and blues songs. The early days of classic rock n’ roll music were particularly steeped in the blues, sharing many of the same elements.

It’s no coincidence that dominant 7th chords played a key role in the structure of early rock favorites like Buddy Holly’s “Peggy Sue” - which includes the A7 chord - and Little Richard’s rollicking “Tutti Frutti,” which included a B7 among its frenzied piano-pounding boogie. (If you like your “Tutti Frutti” flavored with a little more octane, stick with the Little Richard version. It has considerably more kick than the Pat Boone rendition released around the same time. However, if you want a different - but still rocking - take on Little Richard’s signature song, check out T. Rex and Elton John’s dueling piano-and-guitar fest from 1972.)

For another example of dominant 7th chords in the early days of rock, Carl Perkins’ biggest hit, 1956’s “Blue Suede Shoes,” relied on a pair of D7 and E7 chords to create its toe-tapping melody. The song was later covered and popularized by The King of Rock 'n’ Roll himself, Elvis Presley.

Although Elvis didn’t write many of his big hits, many of the songs he popularized took their cues from the R&B genre. Listen for dominant 7th chords in some of his most memorable hits, including “Heartbreak Hotel” (which is built around the A7, B7 and E7 dominant 7th chords) and “That’s All Right,” with its blend of A7, D7 and E7 giving Elvis a swaggering, signature sound to swivel his hips to.

Dominant 7th Chords from the British Invasion to More Modern Rock

Moving from the earliest days of rock 'n’ roll and slouching towards the British Invasion, the Beatles relied heavily on dominant 7th chords to craft some of their breakthrough hits. The band was greatly influenced by American blues rock and a genre called Skiffle, which merged jazz, blues and folk into something wholly unique. The Beatles took those elements and made them their own, endearing them to throngs of teens in the States and their native Europe. Listen for the Fab Four’s fondness for dominant 7th chords on “I Saw Her Standing There” (featuring A7, B7, and E7) and “From Me To You” (including C7, D7, and G7) - among others.

Their fellow blues-loving Brits, the Rolling Stones wove a dominant B7 chord into “(I Can’t Get No) Satisfaction,” furthering the British dominance (pardon the pun) of the U.S. rock scene.

As rock music got heavier and more psychedelic in its leanings, dominant 7th chords weren’t as widely used in compositions, although they did make an occasional appearance. Blue Oyster Cult’s biggest hit, “Don’t Fear the Reaper” includes a G7 chord alongside more cowbell than you can shake your guitar pick at.

The Doors - no strangers to genre-bending rock - dropped a B7 chord into their 1970 track, “Roadhouse Blues,” for a surprisingly authentic take on the blues by-way-of psychedelic rock.

Fast-forwarding a few decades, the tail end of the ‘90s swerved away from murky grunge to horn-flavored ska and some bluesey seasoning sprinkled over the top of radio-friendly rock. Fastball’s “The Way” and “What I Got” by Sublime wove in elements of reggae and blues into their songs, as well as a hearty dose of dominant 7th chords - counterbalancing the minor chords of alternative rock. Listen for the B7 and E7 combo in “The Way” while Sublime leans on a G7 chord to add punch to “What I Got.”

Feelin’ the Blues: Using the Same Dominant 7th Chords in Different Ways

What makes the blues the blues? Sure, there’s the overarching feeling of regret and being part of the downtrodden masses - deep in your feelings after one heartbreak or traumatic event after another. However, singing (or playing) the blues doesn’t necessarily translate to a slower tempo. Quite the contrary. Some of the most memorable blues songs have a downright danceable groove to them, not to mention a generous helping of dominant 7th chords.

For instance, take a listen to the uptempo “I’m Tore Down” by Freddie King and contrast that with “The Sky Is Crying” by Elmore James. Both songs rely on exactly the same chords to build two very different tunes. Both tracks incorporate the A7, D7 and G7 dominant chords. However, their arrangements are totally different, as are the tempos.

“I’m Tore Down” makes you want to get up and dance - despite being about in the pits of despair. On the flipside, James goes for a more traditional take on the blues - rampant with slide guitar and a slowed-down tempo on “The Sky Is Crying.” Learn the three chords featured in these two songs and try playing these songs for yourself to see how you can build completely different creations with the same chord structure.

For a similar exercise, brush up on your A7, B7 and E7 dominant chords on both John Lee Hooker’s “Boom Boom” and “Blues Before Sunrise” by Muddy Waters. Both of these blues legends use exactly the same chords in these songs, albeit arranged differently. It just goes to show you how a few simple chords can create such strikingly different songs, depending on the mind, hands, and soul of the guitarist playing them.

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