15a Lesson - More Secondary Dominant Functions

Class discussion

Harmonization of “Inserting secondary dominant functions into various root movement patterns”

Progression I, vi7, V7/ii, ii, V7/V, V7, I

Soprano: C, C, C#, D, D, D, C Alto: E, G, G, F, F#, G, E Tenor: G, A, A, C, C, B, G

Bass notes (found from inversion): C, A, A, D, D, G, C

Any major, minor, or dominant quality can be tonicized. For leading tone chords, check previous page chpt.15a.

Inserting secondary dominants helps to create smooth bass lines.

(Following to be used for example 3 on previous page - DO NOT ALTER)

More Secondary Dominant Functions

Any chord can have secondary function, not just dominants and leading-tones.

The V/IV in C is a C major chord. The only reason to label a C chord as V/IV is if the V is a V7. This makes a V7/IV, spelled CEGBb, or I7. BUT you will NEVER see a I7. It’s function is the dominant of F, or the IV, so we write it as V7/IV. This is the same idea as the V/V being a II, but you will never write it as a II because that’s not how it functions.

Secondary Dominant chords for functions other than Dominant

This can include:

• V/vi
• V/ii
• V/I (don’t write)
• etc.

The chord guide chart has secondary function replacements for each chord.

Diatonic Harmony: iii - vi - ii - V - I

Chromatic Harmony: V/vi - V/ii - V/V - V/I - V/IV

• these can all be 7th chords as well
• in that case, the V/IV only functions as a 7th chord
• the V/V is included as a pre-dominant function

When can we use a secondary dominant funtion?

• to prepare for a modulation
• when there’s a circle of fifth progression
• where there are chords
  • the only chord you can’t decorate is a diminished chord
  • every other chord can be tonicized

The root movement is the same whether you use diatonic or chromatic harmony.

Example In Ab

Where can you insert a secondary dominant?

iii - vi - ii - V - I

Cm - Fm - Bbm - Eb - Ab

• On the Fm chord iii - V/ii - ii - V - I

Cm - F - Bbm - Eb - Ab

• chromatic harmonies like to move in half-step motion.
  • flats resolve down
  • sharps resolve up

  With the V/ii - ii (F - Bbm), the chordal third of the V/ii resloves to the the root of the ii. If the secondary dominant is a seventh chord (V7/ii), the chordal seventh resolves to the third of the ii chord.

  • this is because half-step motion likes to resolve

Take the progression V7/V - V7 - I in C (D7 - G7 - C). The chordal third of the D7 (F#) resolves up to the root of the V7 (G).

• this is F# moving upward in half-step motion

The chordal seventh of the D7 (C) resolves down to the third of the V7 (B).

• more half-step motion

Example In C: Inserting Secondary Dominant Functions

Given…

Soprano: C5 - C5 - C5 - C5 - D5 - D5 - D5 - C5

Alto: E4 -

Tenor: G3 -

Bass: C3 - C3 - A2 - A2 - F2 - F2 - G2 - C3

Roman Numerals: I - x - vi - x - IV - x - V7 - I

• any place there is an x in the progression there can be a secondary dominant

Fill it in…

Lead Sheet: C - E7/B - Am - C7/G - F - D7/F# - G - C

Soprano: C5 - D5 - C5 - C5 - D5 - D5 - D5 - C5

Alto: E4 - E4 - E4 - E4 - F4 - D4 - F4 - E4

Tenor: G3 - G#3 - A3 - Bb3 - A3 - A3 - B3 - G3

Bass: C3 - B2 - A2 - G2 - F2 - F#2 - G2 - C3

Roman Numerals: I - V^4/3/vi - vi - V^4/3/IV - IV - V^6/V - V7 - I

• notice that any accicentals only move in the half-step motion of their tendancy
  • sharp accidentals resolve up
  • flat accidentals resolve down