| 1. 属七和弦模式/Dominant Seventh chord pattern |
在属三和弦上加第七音是可能的。导音导向主音，即其上的半音，因此，第七音在属音之上，事实上，下属音，自然导向中音，即主音三和弦的中间音，下属音之下的半音。半音重奏增加了从属音三和弦到主音三和弦这一过程的力度，一个常规的结束。属七和弦模式包括属音，主音，上主音和下属音。举例来说，建立在G属音基础上的C大调七和弦音调为G-B-D-F。
It is possible to add a seventh to the dominant triad. As the leading tone (leading note) leads to or is attracted to the tonic, a semitone above it, so the seventh above the dominant, in fact the subdominant, leads naturally to or is attracted to the mediant, the middle note of the tonic triad, a semitone below it. This double semitonal attraction adds strength to the progression from dominant triad to tonic triad, a common ending. The dominant seventh chord pattern consists of the dominant, leading tone (leading note), supertonic and subdominant. For example, in C major the seventh chord built on the dominant G has the notes G-B-D-F. |
| 2. 自然七和弦/Diatonic Seventh chord |
自然七和弦使用自然音阶的音，在三和弦上增加根音之上的七音。所增加的七音在主音和下属音三和弦的情况下成为大七和弦，在自然大音阶的其他音的情况下成为小七和弦。
Diatonic seventh chords use the notes of the diatonic scale to add a seventh above the root to triads. The seventh so added will be a major seventh in the case of triads on the tonic and subdominant, and a minor seventh in the case of other degrees of the diatonic major scale. |
| 3. 属七和弦/Dominant Seventh chord |
可在属三和弦上加七音，形成属音、主音、上主音和下属音的
四音和弦。在C大调中为G-B-D-F。当导音导向主音，即其上的半音时，属音上的七音，事实上，下属音自然导向中音，即主音三和弦的中间音，下属音之下的半音。半音重奏增加了从属音三和弦到主音三和弦这一过程的力度，一个常规的结束。应该注意的是，五音有时会被省略，而非完整的V7和弦。C大调中，G-B-F赋予和弦以C大调特征。
It is possible to add a seventh to the dominant triad, making a four-note chord of dominant, leading tone (leading note), supertonic and subdominant. In the key of C major this would the notes G-B-D-F. As the leading tone (leading note)leads to or is attracted to the tonic, a semitone above it, so the seventh above the dominant, in fact the subdominant, leads naturally to or is attracted to the mediant, the middle note of the tonic triad, a semitone below it. This double semitonal attraction adds strength to the progression from dominant triad to tonic triad, a common ending. It should be noted that the fifth may sometimes be omitted, giving an incomplete V7 chord. In C major it is the notes G-B-F that give the chord its character. |
| 4. 原位/Root position |
和弦的根音为原和弦的基础音。根音在底部的和弦为原位。
The root or fundamental of a chord is the note on which the original chord is built. A chord with the root at the bottom is said to be in root position. |
| 5. 第一转位/First inversion |
第一转位把原三音作为低音，原最高音上为三音，原底音，即根音，上面为六音。因此，C大调主音三和弦为原位C-E-G，E-G-C为第一转位。上面的音为八度替换。换句话说，C大调主音三和弦第一转位中的G和C，可放置在底音E上的任意八度位置上。七和弦亦如此。C大调属音七和弦包括G-B-D-F.。原位中，G在底部。第一转位中，B在底部，其他音在任意八度上。
A first inversion has its original third as its bass, with the original top note a third above it and the original bottom note, the root, a sixth above it. Thus the tonic triad of C major is C-E-G in root position, and E-G-C in first inversion. The upper notes may undergo octave displacement. In other words G and C in the first inversion of the tonic triad of C major, may be placed at any octave above the bottom note, E. The same applies in a seventh chord. The dominant seventh chord in C major consists of the notes G-B-D-F. In root position G is at the bottom. In first inversion B is at the bottom, with the other notes placed above, at any octave. |
| 6. 第二转位/Second inversion |
第二转位把原五音作为低音，原最底音，即根音，上面为四音，三音上为六音。因此，C大调主音三和弦为原位C-E-G，E-G-C为第一转位。G-C-E为第二转位。上面的音为八度替换。换句话说，C大调主音三和弦第二转位中的C和E，可放置在底音G上的任意八度位置上，E。七和弦亦如此。C大调属音七和弦包括G-B-D-F.。原位中，G在底部。第一转位中，B在底部，其他音在任意八度上。第二转位中，D在底部，其他音在任意八度上
A second inversion has its original fifth as its bass, with the original bottom note, the root, a fourth above it and the third a sixth above it. Thus the tonic triad of C major is C-E-G in root position, E-G-C in first inversion, and G-C-E in second inversion. The upper notes may undergo octave displacement. In other words C and E in the second inversion of the tonic triad of C major, may be placed at any octave above the bottom note, G. The same applies in a seventh chord. The dominant seventh chord in C major consists of the notes G-B-D-F. In root position G is at the bottom. In first inversion B is at the bottom, with the other notes placed above, at any octave. In second inversion D is at the bottom, with the other notes placed above, at any octave. |
| 7. 第三转位/Third inversion |
四音和弦比如属音七和弦可进行第三转位。七音变为底音，其他音以任意顺序放置在任意八度上。C大调属音七和弦包括上升顺序的G-B-D-F。第三转位中，F在底部，其他音在任意八度上
A third inversion is possible with a four-note chord, such as the dominant seventh chord. Here the seventh becomes the bottom note, with the other notes placed above it at any octave and in any order. The dominant seventh chord in C major consists of the notes G-B-D-F, in ascending order. The third inversion has F as a bottom note, with the other notes placed above at any octave. |
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