Minordominant

Minordominant is a term used in Western tonal music theory to refer to the dominant function within a minor-key context—the chord built on the fifth scale degree of a minor key. In practice, the dominant in minor keys is typically major (V or V7) because the harmonic minor scale raises the seventh degree to create a leading tone, producing a strong resolution to the tonic.

In some contexts, the term minor dominant denotes the v chord (a minor triad) that can arise when music relies on the natural minor scale without raising the seventh. This version has a weaker tendency to resolve to the tonic and is more common in modal or folk-influenced harmony. Analysts distinguish between V (major) and v (minor) to reflect these differing realizations of dominant function in minor keys. Roman-numeral notation mirrors this distinction with V or V7 for the major form and v for the minor form.

The primary function of the minordominant is to create tension that seeks resolution to the tonic, often through an authentic cadence (V–i). The minor-dominant variant can appear in genres or passages where the tonal center remains ambiguous or where the composer intentionally avoids a strong leading-tone pull. Borrowed chords and secondary dominants, such as V/V, expand the pathways to the dominant area and enrich minor-key harmony. Examples: in A minor, E major (V) or E7 resolves to Am; in A natural minor, Em (v) may occur but lacks the leading tone.