Secondary Dominants
Dr. B Music Theory
The power of V-I progression
Dominant to the tonic is the most powerfull progression in the music.
Tonicize
When we got a V going to I we call it tonicize.
Only major and minor triads.
Primary vs secondary dominants
Primary dominants are V and V7.
Secondary dominants are a dominant function not in the key but outside the key.
We are talking about chromaticism (none-diatonic).
Altered chords
Secondary dominants have at least one accidental.
Spelling
- Name root of tonicized chord (D).
- Go up a perfect 5th (A).
- Spell M or Mm7 on that note (A C# E).
D
['P5','','V','d'],['P1','m','i','T', 'up'],['P5','','V/ii','D2'],['P1','m','ii','SD']
Q:1/1=40
%%player_no_voice
%%piano3+1DC
[V:C] "A"x | "Dm"x || "A"x | "Dm"x |]
[V:D] "V"x | "i"x || "V/ii"x | "ii"x |]
[V:S] e | f || e | f |]
[V:A] ^c | !blue!d || !green!^c | !blue!d |]
[V:T] !blue!A | A || !blue!A | A |]
[V:B] !blue!A, | !blue!D, || !blue!A, | !blue!D, |]
It's a temporally shift on other key (very short modulation).
There is no secondary dominant of I or i, only primary dominant.
We cannot have secondary dominant on a diminished chord (only for major or minor chord).
Major: ii iii IV V vi.
Q:1/1=40
%%player_no_voice
%%piano3+1DC
[V:C] "A7"x | "Dm"x || "B7"x | "Em"x || "C7"x | "F"x || "D7"x | "G"x || "E7"x | "Am"x |]
[V:D] "V7/ii"x | "ii"x || "V7/iii"x | "iii"x || "V7/IV"x | "IV"x || "V7/V"x | "V"x || "V7/vi"x | "vi"x |]
[V:S] g | f || A | G || !green!_B | A || c | B || d | c |]
[V:A] !green!^c | !blue!d || !green!^D | !blue!E || E | !blue!F || !green!^F | !blue!G || !green!^G | !blue!A |]
[V:T] !blue!A | A || !blue!B, | B, || !blue!C | C || !blue!D | D || !blue!E | E |]
[V:B] !blue!A, | !blue!D || !blue!B,, | !blue!E, || !blue!C, | !blue!F, || !blue!D, | !blue!G, || !blue!E, | !blue!A, |]
V/VI is I tonic, use V7/VI instead.
Minor: III iv V VI VII.
Q:1/1=40
%%player_no_voice
%%piano3+1DC
K:Cm
[V:C] "Bb7"x | "Eb"x || "C7"x | "Fm"x || "D7"x | "G"x || "Eb7"x | "Ab"x || "F7"x | "Bb"x |]
[V:D] "V7/III"x | "III"x || "V7/iv"x | "iv"x || "V7/V"x | "V"x || "V7/VI"x | "VI"x || "V7/VII"x | "VII"x |]
[V:S] A | G || !green!B | A || c | =B || _d | c || _e | d |]
[V:A] D | !blue!E || =E | !blue!F || !green!^F | !blue!G || !green!G | !blue!A || !green!=A | !blue!B |]
[V:T] !blue!B, | B, || !blue!C | C || !blue!D | D || !blue!E | E || !blue!F | F |]
[V:B] !blue!B,, | !blue!E, || !blue!C, | !blue!F, || !blue!D, | !blue!G, || !blue!E, | !blue!A, || !blue!F, | !blue!B, |]
What's about V/III vs VII?
V/VI = III, use V7/VI instead.
Analyzing
- lead-sheet symbols
- is altered chord M or Mm7?
- go down perfect 5th
- would a major or minor triad built on that note be a diatonic triad?
Harmonic Progression
- insert any way with or without inversion
- can chain secondary dominants
I - iii - vi - ii - V - I
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:C
[V:C] "C"x | "Em"x | "Am"x | "Dm"x | "G7"x | "C"x |]
[V:D] "I"x | "iii"x | "vi"x | "ii"x | "V7"x | "I"x |]
[V:S] G | G | !blue!A | A | !red!!r>(!B | !blue!!r>)!c |]
[V:A] E | !blue!E | E | F | !blue!G | G |]
[V:T] !blue!C | B, | C | !blue!D | !orange!!o>(!F | !o>)!E |]
[V:B] !blue!C, | !blue!E, | !blue!A, | !blue!D, | !blue!G, | !blue!C, |]
I (V/iii) iii vi ii V I
Q:1/1=40
%%player_no_voice
%%piano3+1CD K:C
[V:C] "C"x | "B7"x | "Em"x | "Am"x | "Dm"x | "G7"x | "C"x |]
[V:D] "I"x | "V7/iii"x | "iii"x | "vi"x | "ii"x | "V7"x | "I"x |]
[V:S] G | A | G | !blue!A | A | !red!!r>(!B | !blue!!r>)!c |]
[V:A] E | ^F | !blue!E | E | F | !blue!G | G |]
[V:T] !blue!C | ^D | B, | C | !blue!D | !orange!!o>(!F | !o>)!E |]
[V:B] !blue!C, | !blue!B,, | !blue!E, | !blue!A, | !blue!D, | !blue!G, | !blue!C, |]
I iii (V/vi) vi ii V I
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:C
[V:C] "C"x | "Em"x | "E7"x | "Am"x | "Dm"x | "G7"x | "C"x |]
[V:D] "I"x | "iii"x | "V7/vi"x | "vi"x | "ii"x | "V7"x | "I"x |]
[V:S] G | G | ^G | !blue!A | A | !red!!r>(!B | !blue!!r>)!c |]
[V:A] E | !blue!E | !blue!E | E | F | !blue!G | G |]
[V:T] !blue!C | B, | D | C | !blue!D | !orange!!o>(!F | !o>)!E |]
[V:B] !blue!C, | !blue!E, | !blue!E, | !blue!A, | !blue!D, | !blue!G, | !blue!C, |]
I iii vi (V/ii) ii V I
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:C
[V:C] "C"x | "Em"x | "Am"x | "A7"x | "Dm"x | "G7"x | "C"x |]
[V:D] "I"x | "iii"x | "vi"x | "V7/ii"x | "ii"x | "V7"x | "I"x |]
[V:S] G | G | !blue!A | !blue!A | A | !red!!r>(!B | !blue!!r>)!c |]
[V:A] E | !blue!E | E | G | F | !blue!G | G |]
[V:T] !blue!C | B, | C | ^C | !blue!D | !orange!!o>(!F | !o>)!E |]
[V:B] !blue!C, | !blue!E, | !blue!A, | !blue!A, | !blue!D, | !blue!G, | !blue!C, |]
I iii vi ii (V7/V) V I
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:C
[V:C] "C"x | "Em"x | "Am"x | "Dm"x | "D7"x | "G7"x | "C"x |]
[V:D] "I"x | "iii"x | "vi"x | "ii"x | "V7/V"x | "V7"x | "I"x |]
[V:S] G | G | !blue!A | A | c | !red!!r>(!B | !blue!!r>)!c |]
[V:A] E | !blue!E | E | F | ^F | !blue!G | G |]
[V:T] !blue!C | B, | C | !blue!D | !blue!D | !orange!!o>(!F | !o>)!E |]
[V:B] !blue!C, | !blue!E, | !blue!A, | !blue!D, | !blue!D, | !blue!G, | !blue!C, |]
All together
I (V7/iii) iii (V7/vi) vi (V7/ii) ii (V7/V) V I
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:C
[V:C] "C"x | "B7"x | "Em"x | "E7"x | "Am"x | "A7"x | "Dm"x | "D7"x | "G7"x | "C"x |]
[V:D] "I"x | "V7/iii"x | "iii"x | "V7/vi"x | "vi"x | "V7/ii"x | "ii"x | "V7/V"x | "V7"x | "I"x |]
[V:S] G | A | G | ^G | !blue!A | !blue!A | A | c | !red!!r>(!B | !blue!!r>)!c |]
[V:A] E | ^F | !blue!E | !blue!E | E | G | F | ^F | !blue!G | G |]
[V:T] !blue!C | ^D | B, | D | C | ^C | !blue!D | !blue!D | !orange!!o>(!F | !o>)!E |]
[V:B] !blue!C, | !blue!B,, | !blue!E, | !blue!E, | !blue!A, | !blue!A, | !blue!D, | !blue!D, | !blue!G, | !blue!C, |]
I (V7/iii) (V7/vi) (V7/ii) (V7/V) V I
Q:1/1=40
%%player_no_voice
%%piano3+1CD
K:C
[V:C] "C"x | "B7"x | "E7"x | "A7"x | "D7"x | "G7"x | "C"x |]
[V:D] "I"x | "V7/iii"x | "V7/vi"x | "V7/ii"x | "V7/V"x | "V7"x | "I"x |]
[V:S] G | A | ^G | !blue!A | c | !red!!r>(!B | !blue!!r>)!c |]
[V:A] E | ^F | !blue!E | G | ^F | !blue!G | G |]
[V:T] !blue!C | ^D | D | ^C | !blue!D | !orange!!o>(!F | !o>)!E |]
[V:B] !blue!C, | !blue!B,, | !blue!E, | !blue!A, | !blue!D, | !blue!G, | !blue!C, |]
deceptive examples: V7 V6/vi vi.
Q:1/1=40
%%player_no_voice
%%piano2+2CD
K:C
[V:C] "G"x | "Am"x || "G"x | "E/G#"x | "Am"x |]
[V:D] "V"x | "vi"x || "V"x | "V6/vi"x | "vi"x |]
[V:S] d | !blue!c || d | !blue!e | !blue!c |]
[V:A] !blue!G | E || !blue!G | !blue!E | E |]
[V:T] !r>(!!red!B, | !r>)!!blue!C || !red!B, | B, | !blue!C |]
[V:B] !blue!G, | A, || !blue!G, | ^G, | A, |]
V65 V42/IV IV6
Q:1/1=40
%%player_no_voice
%%piano2+2CD
K:C
[V:C] "G7/B"x | "C7/Bb"x | "F/A"x | "Fm/Ab"x | "G"x | "C"x |]
[V:D] "V65"x | "V42/IV"x | "IV6"x | "iv6"x | "V7"x | "I"x |]
[V:S] d | c | c | c | B | c |]
[V:A] F | E | F | F | F | E |]
[V:T] G, | G, | F, | F, | G, | G, |]
[V:B] B,, | _B,, | A,, | _A,, | G,, | C, |]
Voice-Leading
- Same as primary dominants.
- Exceptions: leading-tone may need to go down ½ step to become 7th of next chord.
L:1/4
Q:1/1=20
%%piano2+2N
%%player_no_voice
K:D
[V:S] x x x x | x x x x | x4 |]
[V:A] x x x x | x x x x | x4 |]
[V:T] x x x x | x x x x | x4 |]
[V:B] D, ^D, E, =D, | C, =C, B,, A,, | D,4 |]
[V:N] x "_6""_5"x x "_4+""_2"x | "_6"x "_4""_2"x "_6"x "_7"x | x4 |]
Step 1: Roman numerical analysis in the key of D.
L:1/4
Q:1/1=20
%%piano2+2CDN
%%player_no_voice
K:D
[V:C] x x x x | x x x x | x4 |]
[V:D] "I"x "V65/ii"x "ii"x "V7/V"x | "V6"x "V42/IV"x "IV6"x "V7"x | "I"x4 |]
[V:S] x x x x | x x x x | x4 |]
[V:A] x x x x | x x x x | x4 |]
[V:T] x x x x | x x x x | x4 |]
[V:B] D, ^D, E, =D, | C, =C, B,, A,, | D,4 |]
[V:N] x "_6""_5"x x "_4+""_2"x | "_6"x "_4""_2"x "_6"x "_7"x | x4 |]
Step 2: Write letter names for the chords that coming up.
L:1/4
Q:1/1=20
%%piano2+2CDN
%%player_no_voice
K:D
[V:C] "D"x "B7/D#"x "Em"x "E7/D"x | "A/C#"x "D7/C"x "G/B"x "A7"x | "D"x4 |]
[V:D] "I"x "V65/ii"x "ii"x "V7/V"x | "V6"x "V42/IV"x "IV6"x "V7"x | "I"x4 |]
[V:S] x x x x | x x x x | x4 |]
[V:A] x x x x | x x x x | x4 |]
[V:T] x x x x | x x x x | x4 |]
[V:B] D, ^D, E, =D, | C, =C, B,, A,, | D,4 |]
[V:N] x "_6""_5"x x "_4+""_2"x | "_6"x "_4""_2"x "_6"x "_7"x | x4 |]
Step 3: Look for common tones, move by step with least number of leaps.
L:1/4
Q:1/1=20
%%piano2+2CDN
K:D
[V:C] "D"x "B7/D#"x "Em"x "E7/D"x | "A/C#"x "D7/C"x "G/B"x "A7"x | "D"x4 |]
[V:D] "I"x "V65/ii"x "ii"x "V7/V"x | "V6"x "V42/IV"x "IV6"x "V7"x | "I"x4 |]
[V:S] !blue!d B B B | !blue!A A !blue!G G | F4 |]
[V:A] F F !blue!E E | E D D C | !blue!D4 |]
[V:T] A, A, G, ^G, | !blue!A, F, !blue!G, !blue!A, | A,4 |]
[V:B] !blue!D, ^D, !blue!E, =D, | C, =C, B,, !blue!A,, | !blue!D,4 |]
[V:N] x "_6""_5"x x "_4+""_2"x | "_6"x "_4""_2"x "_6"x "_7"x | x4 |]
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