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In Music Theory , the dominant chord is symbolized by the Roman Numeral V if it is within the major mode (because it is a major Triad , for example G-B-D in C major) or v if it is within the minor mode (because it is a minor triad, for example G-B♭-D in C minor, unless of course the B♭ is sharpened to B Natural , as will often occur since B natural is the Leading Tone for the C minor scale). As defined by Joseph Fétis the ''dominante'' was a seventh chord over the first note of a descending perfect fifth in the '' Basse Fondamentale '' or root progression, the common practice period Dominant Seventh he named the ''dominante tonique''. A Cadential dominant chord followed by a Tonic chord (the chord of the key of the piece) produces an Authentic Cadence . If the Root s are in the Bass and the tonic is in the highest voice, it is a Perfect Authentic Cadence . "Dominant" also refers to a relationship of musical keys. For example, relative to the key of C major, the key of G major is the dominant. Music which modulates (changes key) often modulates into the dominant. Modulation into the dominant key often creates a sense of increased tension; as opposed to modulation into Subdominant (fourth note of the scale), which creates a sense of musical relaxation (because the tonic key is the dominant of its subdominant key: in F major, the dominant is C). The dominant Diatonic Function has the role of creating instability that requires the tonic or goal-tone for release. The dominant may also be considered the result of a transformational operation applied to the tonic that most closely resembles the tonic by some clear-cut criteria such as common tones (Perle 1955 cited in Wilson 1992, p.37-38). SEE ALSO
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