The V chord is boring?

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exist01 wrote: Sat Dec 17, 2022 4:15 pm So I've come to a point where I'm finding the V chord to be almost unusably basic. Part of it is that the major 7th interval for the V sounds very out of key and can't be used in most cases, and the dominant 7th interval doesn't sound great a lot of the time either. This makes it so that most of the time the V chord remains a basic major triad, which is super lame.
These are very odd things to see, really. I went right to a more objective set of replies, ignoring this, but maybe also for the room it can be examined for a second…
an interval in itself doesn't sound great a lot of the time? That’s a rather large chunk of sonorous possibility. Maybe what is meant is the dominant seventh harmony? The minor seventh interval is not that (“dominant”), through itself. “Dominant” is a function.
EG: minor “v” doesn’t perform this function. If it’s the Major/minor 7 chord with its tritone, it’s also a large chunk to discount so easily.

One seeking to write, in the beginning, needs experience with what’s gone on in the wide world of music for a time, first.

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Ok now, give me some of those boring chords, and I will show you how to make it interesting. Let's say a piece of 30 seconds.
artie fichelle sounds natural

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Bach and Beethoven seemed to make the V chord quite interesting, as did The Wombles with their seminal We Wish You A Wombling Merry Christmas.

I suppose it is possible that your art hasn't quite reached these heights, and that the problem lies with your use of the chord rather than the chord itself.

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well, that’s of even higher probability than the prospect the OP shall never return

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Remember children:
"when you are bored, you are boring to be with"
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Mindful voice leading can really unlock the potential of the V7 (i.e. Bmb6 D7 Gmaj13), but, as a guitarist, I find V9's to be a tad bit more subtle and way more useful. Great for secondary dominants too!

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playerpiano wrote: Mon Jan 16, 2023 10:05 am Mindful voice leading can really unlock the potential of the V7 (i.e. Bmb6 D7 Gmaj13), but, as a guitarist, I find V9's to be a tad bit more subtle and way more useful. Great for secondary dominants too!
Just to piggyback on this one, it's also fun to take those more dense V chords but leaving off a pitch too. Sometimes easier said than done, but the lack of certain pitches in a chord makes it even more interesting!

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atwoslottoaster wrote: Fri Jan 27, 2023 1:02 am
playerpiano wrote: Mon Jan 16, 2023 10:05 am Mindful voice leading can really unlock the potential of the V7 (i.e. Bmb6 D7 Gmaj13), but, as a guitarist, I find V9's to be a tad bit more subtle and way more useful. Great for secondary dominants too!

Just to piggyback on this one, it's also fun to take those more dense V chords but leaving off a pitch too. Sometimes easier said than done, but the lack of certain pitches in a chord makes it even more interesting!
I agree! Omitting octaves and fifths can pull so much more color out of the thirds and sevenths.

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A basic V chord can be boring. And it can not be boring. To me, it depends on the context given by the surrounding chords.
My solo projects:
Hekkräiser (experimental) | MFG38 (electronic/soundtrack) | The Santtu Pesonen Project (metal/prog)

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it’s almost as though musical thought is contextual

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F- the IV chord too, I hate that mugger fugger

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