Lesson 26 secondary dominant of the dominant
Part I - Introduction to secondary dominants of the dominant
The most commonly used secondary dominant chord is one that resolves to the dominant. The secondary dominant of the dominant is found in both the major and the minor key signatures. All five dominant-type chords used as the top number of the dominant-type chords can be used as the top number of the roman numeral fraction. Remembering back to the previous lesson, these dominant type chords are: V, V7, vii°, vii°7, and viiΓΈ7. However, the most frequently used ones are V7, and vii°7. They can occur in any inversion as demonstrated in figures 1, and 2. In the second example in figure 1, we can see that the altered tone (the F#) in the bass resolves up as raised altered tones should. The same is true for the F# in the alto in the example on the left.
Fig.1 secondary dominant of the dominant
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In the example on the right, the two altered tones that create the vii°7 both resolve correctly. The sharp resolves up, and the flat resolves down. As they should. The example on the left only has one altered tone because it is the diminished triad, not the seventh chord.
Fig.2 diminished triad and seventh chord as secondary dominants
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Part II - Position in the Chord Progression
In this example, the passing tone in the bass creates the secondary dominant that resolves to the I six-four chord, them to the dominant.
Fig.3 Secondary dominant leading to I six-four
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Here, the I six-four resolves to the secondary dominant which resolves to the Dominant then to tonic.
Fig.4 I six-four leading to secondary dominant
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Part III - Ninth chords as secondary dominants
Any chord that may replace the dominant triad in the chord progression can also replace a secondary dominant. This includes ninths, elevenths and thirteenths. Here, we see that V9/V is a viable option in the progression.
Fig.5 ninth chord as a secondary dominant.
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