14a Lesson - Secondary Dominant Chords

Class discussion

Secondary Dominant Chords

Harmonization of “A standard progression”

Progression: I, vi, ii, V, I

Soprano is given, Bass notes found from chord inversion. Alto: E, E, F, G, E Tenor: G, A, A, B, C

What do we change to make a ii V in C major become a V I in G major?

We raise the third to become the leading tone in G. F becomes F#

It is called secondary dominant because it is the dominant chord of a different key. We use these chords to emphasize and decorate chords. A secondary dominant that leads to a V chord would be a V in the key of V (V/V). A secondary dominant that leads to a ii chord would be a V in the key of ii (V/ii).

In review:

-Primary function of chords: tonic, dominant, pre-dominant, vi chord thing

-Alternate function: cadential, arpeggiated, passing, pedal

-Now we are beginning secondary function with secondary dominants.

Harmonization of “Changing ii into a dominant seventh chord”

Soprano (given), Bass notes found from chord inversions. Alto: E, E, F#, G, E Tenor: G, A, C, B, C

What is a secondary dominant?

• a false tonicization to lead to a chord and extend its function Instead of a ii7 - V, you can use a V7/V - V.
• in C, the V7/V is spelled DF#AC, as opposed to ii7 DFAC.
• this creates a tonicization to the V chord

Example 1 in C

Soprano: C5 - C5 - D5 - D5 - C5

Alto: E4 - E4 - F4 - G4 - E4

Tenor: G3 - A3 - A3 - B3 - G3

Bass: C3 - A2 - D3 - G2 - C3

Progression: I - vi - ii - V - I

• the tenor voice in the last two notes displays a frustrated leading tone (ti-sol in an inner voice)
• another possibility is ti-doh with a tripled root

A circle of fifths progression: iii - vi - ii - V - I

• alternatively a IV in the place of a ii (pre-dominant function)
• alternatively a viio in the place of a V (dominant function)

Altering a ii - V

We have a ii - V voicing in C major. The same voiceing creates a V - I in G major, the only difference being the change in key signature (F#).

When we borrow the V chord for a dominant function from a different key, it’s called tonicization. DO NOT label it as a II. We label based on function, and the function here is a secondary dominant: using the dominant from another key to create a false tonicization to a different key. We don’t modulate, it takes your ear to a different tonic for two beats.

A II spelling is written V/V. It may look like a II, but it functions as the dominant to the V in the home key. This is an essential part of chromatic harmony.

Example 2 in C

Take the same soprano and bass lines from before, but alter the ii to be a ii7.

Soprano: C5 - C5 - D5 - D5 - C5

Alto: E4 - E4 - F4 - G4 - E4

Tenor: G3 - A3 - C4 - B3 - G3

Bass: C3 - A2 - D3 - G2 - C3

Progression: I - vi - ii7 - V - I

To use a secondary dominant, raise the F in the alto voice to an F#. This gives you a V7/V moving to a V in the next chord.

Where else in this example can you put a secondary dominant? The progression is I - vi - ii7 - V - I. We already have a V - I in the key, and we just made a V/V - V from the ii7. Our only other option is to turn the vi into a secondary dominant by raising the third of the chord.

This leaves us with a A - D-7, or a V/ii.

• remember we don’t need to put the 7 from the ii7 in the secondary dominant
• the label of the secondary dominant is what is functional in the key

The top figure in the secondary dominant is the dominant chord. The bottom figure is where you are borrowing the chord from.

Take a chord progression: I - V7/vi - vi - ii - V7 - I In F: F - A7 - Dm - Gm - C7 - I

• the A7 is a tonicization to Dm
• as a secondary dominant, the A7 - Dm is the V7 - i in D minor

Further reading