Lesson 25 Introduction to secondary dominants
A secondary dominant means that the chord is the dominant of another chord within the original key.
For example, D F A is the V of G B D, Which is V in C Major.
For example, D F A is the V of G B D, Which is V in C Major.
Part I - Review of Dominant-Type chords
The Dominant chord is the most important concept in tonal music because of its tendency to move toward a chord of resolution.
Roman numeral Quality
V-------------------------------Major triad
V7-------------------------------------Major-minor seventh
(dominant 7th)
vii°----------------------------diminished triad
vii°7---------------------------------Diminished-diminished seventh
(fully diminished 7th)
viiΓΈ7----------------------------------Diminished-minor seventh
(half diminished seventh)
Part II - Resolution of Dominant-Type Chords
The most important thing to learn about dominant-type chords is to learn how they resolve. Being that dominant chords are built on the fifth scale degree, and they resolve to a chord that is a fifth down from the root of the dominant chord. Leading-tone chords resolve up a minor second.
Here you can see that all of the V chords resolve down a fifth:
In this example, all of the roots resolve up a second:
this is because all of the chords are diminished
Part III - Tonicization and Chromatic Chords
Notice the second chord in this figure. it has the presence of the E natural. This means that it is not a chord of the key signature. Think of the two chords in the middle of this figure as being in the key of F, not B flat.
You can see how we analyze the chromatic chord. Its root resolves up a second to the dominant of the Key
In this example, the vii°7/V should be thought of as in the key of E, not A
vii°7---------------------------------Diminished-diminished seventh
(fully diminished 7th)
viiΓΈ7----------------------------------Diminished-minor seventh
(half diminished seventh)
Part II - Resolution of Dominant-Type Chords
The most important thing to learn about dominant-type chords is to learn how they resolve. Being that dominant chords are built on the fifth scale degree, and they resolve to a chord that is a fifth down from the root of the dominant chord. Leading-tone chords resolve up a minor second.
Here you can see that all of the V chords resolve down a fifth:
Fig.1 resolution of V chords
Listen:
Fig.2 resolution of diminished chords
Listen:
Part III - Tonicization and Chromatic Chords
Notice the second chord in this figure. it has the presence of the E natural. This means that it is not a chord of the key signature. Think of the two chords in the middle of this figure as being in the key of F, not B flat.
You can see how we analyze the chromatic chord. Its root resolves up a second to the dominant of the Key
Fig.3 secondary dominant
(This analysis is incorrect, it should be vii°7/V)
(This analysis is incorrect, it should be vii°7/V)
Listen:
In this example, the vii°7/V should be thought of as in the key of E, not A
Fig.4 vii°7/V in A Major
Here, we see the vii°7/V in F Major.
Listen:
Here, we see the vii°7/V in F Major.
Fig.5 vii°7/V in F Major
Listen:
Finally, we see the vii°7/V in B Major
Fig.6 vii°7/V in B Major
Listen:
