Secondary dominants

Table of Contents

Rhythm
Intervals
Key and Scale
Triads and key
Seventh Chords
Non-harm. tones
Roman num/
fig bass 1
Dom-tonic function
Secondary dom
Modulation
Aug 6th Chords
Neap 6th Chords

Section 2:

Borrowed chords
Mediants
Special uses of dim 7
Chromatic non-H tones
Roman num/
figured bass 2

Section 3:

Set theory
Rhythm/ form
12- tone
Polyrhythm
Metric modulation
Meter

Section 4:

Basic Assumptions
Motive, Phrase and Period
Cadence
Binary form
Ternary form
Rounded binary form
Sonata form
Rondo form
Theme and variation
Dance forms

Section 5:

Basic assumptions
and procedures
Harmony
Form and rhythm
Melody
Timbre

Section 6: Bibliography

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Secondary dominants

Basic Concepts:

1. The dominant chords of a key tonicize the tonic. A secondary dominant is a chord that tonicizes a note other than tonic. It serves as V of another note.

2. The chords that function as a dominant in a key are V, V7, vii°, vii°7, and the half diminished seventh chord. Therefore, these are the chord types that serve as secondary dominants as well.

3. Standard practice for indicating a secondary dominant is V/vi (for example), where V indicates the quality and function of the actual chord as it relates to vi. vi indicates the position of the new tonic (or temporary tonic) as it relates to the prevailing key. For example, in C major, V/vi indicates an E major triad (V of A) which serves to tonicize vi in C major, which is A.

In the example below, in the key of D minor, notice that the secondary dominant figure shows the inversion. In the key of D, V is A. The dominant of A is E, and the secondary dominant chord here is E major. (One might consider the D in the upper voice, last eighth note of measure 17, to be the seventh of the chord. In this case, the chord would be labeled V4-3/V. However, this analysis considers this to be a passing tone figure, the D sounding off of the beat and leading directly to a chord tone on the downbeat.)

4. Some theorists will allow for other chords to be shown in their relation to another tonic like this: iv/vi. Do not confuse this with a secondary dominant. The iv is not a dominant chord. In C major, this figure indicates the chord that is in the subdominant relationship to A, vi in C major. That chord is D minor. The use of this figure may be to show a common chord or pivot chord (see the chapter on modulation for an explanation of these terms).