Secondary dominant
Encyclopedia
Secondary dominant is an analytical label for a specific harmonic
device, prevalent in the tonal
idiom of Western music beginning in the common practice period
. It refers to a dominant
-like function of a chromatically
altered chord built on a scale degree other than the 5th of the prevailing key, with V7/V, the dominant of the dominant, "being the most frequently encountered". The chord to which a secondary dominant progresses can be thought of as a briefly tonicized chord or pitch (tonicizations longer than a phrase
are modulations
). The secondary dominant terminology is still usually applied even if the chord resolution is nonfunctional
(for example if V/ii is not followed by ii).
defines six (in one view, seven) basic chords, designated with Roman numerals in ascending order. For instance, in the key
of C major, the six basic chords are these:
Of these chords, V (G major) is said to be the dominant
of C major (the dominant of any key is the one whose root
is a fifth
higher). However, each of the chords from ii through vi also has its own dominant. For example, vi (A minor) has E major (Dominant (music)#Triads) as its dominant. These extra dominant chords are not part of the key of C major as such because they include notes that are not part of the C major scale. Instead, they are the secondary dominants.
Below is an illustration of the secondary dominant chords for C major. Each chord is accompanied by its standard number in harmonic notation. In this notation, a secondary dominant is usually labeled with the formula "V of ..."; thus "V of ii" stands for the dominant of the ii chord, "V of iii" for the dominant of iii, and so on. A shorter notation, used below, is "V/ii", "V/iii", etc. The secondary dominants are connected with lines to their corresponding tonic chords.
Note that of the above, V/IV is the same as I. However, as will become clear shortly, they are not always identical.
Like most chords, secondary dominants can be classified by whether they contain certain additional notes outside the basic triad; for details, see Figured bass
. A dominant seventh chord (notation: V7) is one that contains the note that is a minor seventh above the root, and a dominant ninth chord (notation: V9) contains the note a ninth above the root. For instance, V7/IV, although it is a C chord, is distinct from regular C major because it also contains the note B flat, which is a minor seventh above the root of C, and not part of the C major scale.
To illustrate, here are the secondary dominants of C major, given as dominant seventh chords. They are shown leading into their respective tonics, as given in the second inversion
.
Chromatic mediants, for example vi is also a secondary dominant of ii (V/ii) and III is V/vi, are distinguished from secondary dominants with context and analysis
revealing the distinction.
, acting as a miniature dominant-tonic sequence in the key of X.
, Mozart
, Beethoven
, and Brahms
, a secondary dominant, along with its chord of resolution, was considered to be a modulation. Because the effect of modulation was so short, and did not sound like a real arrival of a new key, the two chords had a special name--"transient modulation"--that is, a modulation in which the new key is not established. Since this was a rather self-contradictory description, theorists in the early 1900s, such as Hugo Riemann
(who used the term "Zwischendominante" - "dominant inbetween"), searched for a better description of the phenomenon. One method of signifying these chords at the time (used by both Riemann and Ernst Kurth
) was by placing the chord symbol in parentheses, thereby indicating that the chord functions only in relation to the chord immediately following it - for example, (VII) V.
In the English-speaking world, the analysis "V7 of IV" was first used by Walter Piston
in 1939, in a monograph entitled "Principles of Harmonic Analysis." (Notably, Piston's analytical symbol always used the word "of"--e.g. "V7 of IV" rather than the virgule "V7/IV.) In his 1941 "Harmony" Piston used the term "secondary dominant" for the first time.
Piano Sonata K. 283 in G major serves as one illustration of secondary dominants. Below, the harmony alone is first given, labeled both for the literal names of the chords and for their chord number in the key of G major.
It can be seen that this passage has three secondary dominants, each one followed (as expected) by the chord of which it is the dominant. The final four bars form a back-cycle, ending in a standard dominant-tonic cadence
, which concludes the phrase. The lines drawn below the diagram show each instance in which a dominant is followed by its corresponding tonic.
The harmony is distributed more subtly between the notes, and goes faster, in Mozart's original:
The secondary dominants here create a rapidly descending chromatic harmony, an effective lead-up to the tonic cadence at the end of the phrase. There are many similar passages in Mozart's music.
.
Secondary dominants are used in jazz harmony in the Bebop blues and other blues progression variations, as are sub V and turnarounds
.
's "Don't Think Twice, It's All Right
" and III7 (V7/vi) in Betty Everett
's "The Shoop Shoop Song (It's in His Kiss)
".
that resolves
downwards to another dominant chord
. A series of extended dominant chords continues to resolve downwards by perfect fifth
s until they reach the tonic chord.
Typically used in jazz
, extended dominants have been used in other contexts as well.
Harmony
In music, harmony is the use of simultaneous pitches , or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic...
device, prevalent in the tonal
Tonality
Tonality is a system of music in which specific hierarchical pitch relationships are based on a key "center", or tonic. The term tonalité originated with Alexandre-Étienne Choron and was borrowed by François-Joseph Fétis in 1840...
idiom of Western music beginning in the common practice period
Common practice period
The common practice period, in the history of Western art music , spanning the Baroque, Classical, and Romantic periods, lasted from c. 1600 to c. 1900.-General characteristics:...
. It refers to a dominant
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale...
-like function of a chromatically
Diatonic and chromatic
Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to intervals, chords, notes, musical styles, and kinds of harmony...
altered chord built on a scale degree other than the 5th of the prevailing key, with V7/V, the dominant of the dominant, "being the most frequently encountered". The chord to which a secondary dominant progresses can be thought of as a briefly tonicized chord or pitch (tonicizations longer than a phrase
Phrase (music)
In music and music theory, phrase and phrasing are concepts and practices related to grouping consecutive melodic notes, both in their composition and performance...
are modulations
Modulation (music)
In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest...
). The secondary dominant terminology is still usually applied even if the chord resolution is nonfunctional
Diatonic function
In tonal music theory, a diatonic function is the specific, recognized role of each of the 7 notes and their chords in relation to the diatonic key...
(for example if V/ii is not followed by ii).
Definition and notation
The normal diatonic major scaleMajor scale
In music theory, the major scale or Ionian scale is one of the diatonic scales. It is made up of seven distinct notes, plus an eighth which duplicates the first an octave higher. In solfege these notes correspond to the syllables "Do, Re, Mi, Fa, Sol, La, Ti/Si, ", the "Do" in the parenthesis at...
defines six (in one view, seven) basic chords, designated with Roman numerals in ascending order. For instance, in the key
Key (music)
In music theory, the term key is used in many different and sometimes contradictory ways. A common use is to speak of music as being "in" a specific key, such as in the key of C major or in the key of F-sharp. Sometimes the terms "major" or "minor" are appended, as in the key of A minor or in the...
of C major, the six basic chords are these:
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale...
of C major (the dominant of any key is the one whose root
Root (chord)
In music theory, the root of a chord is the note or pitch upon which a triadic chord is built. For example, the root of the major triad C-E-G is C....
is a fifth
Perfect fifth
In classical music from Western culture, a fifth is a musical interval encompassing five staff positions , and the perfect fifth is a fifth spanning seven semitones, or in meantone, four diatonic semitones and three chromatic semitones...
higher). However, each of the chords from ii through vi also has its own dominant. For example, vi (A minor) has E major (Dominant (music)#Triads) as its dominant. These extra dominant chords are not part of the key of C major as such because they include notes that are not part of the C major scale. Instead, they are the secondary dominants.
Below is an illustration of the secondary dominant chords for C major. Each chord is accompanied by its standard number in harmonic notation. In this notation, a secondary dominant is usually labeled with the formula "V of ..."; thus "V of ii" stands for the dominant of the ii chord, "V of iii" for the dominant of iii, and so on. A shorter notation, used below, is "V/ii", "V/iii", etc. The secondary dominants are connected with lines to their corresponding tonic chords.
Like most chords, secondary dominants can be classified by whether they contain certain additional notes outside the basic triad; for details, see Figured bass
Figured bass
Figured bass, or thoroughbass, is a kind of integer musical notation used to indicate intervals, chords, and non-chord tones, in relation to a bass note...
. A dominant seventh chord (notation: V7) is one that contains the note that is a minor seventh above the root, and a dominant ninth chord (notation: V9) contains the note a ninth above the root. For instance, V7/IV, although it is a C chord, is distinct from regular C major because it also contains the note B flat, which is a minor seventh above the root of C, and not part of the C major scale.
To illustrate, here are the secondary dominants of C major, given as dominant seventh chords. They are shown leading into their respective tonics, as given in the second inversion
Inversion (music)
In music theory, the word inversion has several meanings. There are inverted chords, inverted melodies, inverted intervals, and inverted voices...
.
Chromatic mediants, for example vi is also a secondary dominant of ii (V/ii) and III is V/vi, are distinguished from secondary dominants with context and analysis
Musical analysis
Musical analysis is the attempt to answer the question how does this music work?. The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Ian Bent , analysis is "an...
revealing the distinction.
Normal sequencing or cadence
When used in music, a secondary dominant is very often (though not inevitably) directly followed by the chord of which it is the dominant. Thus V/ii is normally followed by ii, V/vi by vi, and so on. This is similar to the general pattern of music wherein the simple chord V is often followed by I. The tonic is said to "resolve" the slight dissonance created by the dominant. Indeed, the sequence V/X + X, where X is some basic chord, is thought of by some musicians as a tiny modulationModulation (music)
In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature. Modulations articulate or create the structure or form of many pieces, as well as add interest...
, acting as a miniature dominant-tonic sequence in the key of X.
History
The concept of the secondary dominant was not widely recognized in writings on music theory prior to the 20th century. Before this time, in music of BachJohann Sebastian Bach
Johann Sebastian Bach was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity...
, Mozart
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart , baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart , was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music...
, Beethoven
Ludwig van Beethoven
Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential composers of all time.Born in Bonn, then the capital of the Electorate of Cologne and part of...
, and Brahms
Johannes Brahms
Johannes Brahms was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene...
, a secondary dominant, along with its chord of resolution, was considered to be a modulation. Because the effect of modulation was so short, and did not sound like a real arrival of a new key, the two chords had a special name--"transient modulation"--that is, a modulation in which the new key is not established. Since this was a rather self-contradictory description, theorists in the early 1900s, such as Hugo Riemann
Hugo Riemann
Karl Wilhelm Julius Hugo Riemann was a German music theorist.-Biography:Riemann was born at Grossmehlra, Schwarzburg-Sondershausen. He was educated in theory by Frankenberger, studied the piano with Barthel and Ratzenberger, studied law, and finally philosophy and history at Berlin and Tübingen...
(who used the term "Zwischendominante" - "dominant inbetween"), searched for a better description of the phenomenon. One method of signifying these chords at the time (used by both Riemann and Ernst Kurth
Ernst Kurth
Ernst Kurth, was a Swiss music theorist.- Career :Kurth studied musicology with Guido Adler in Vienna, and earned his Ph.D with a thesis about Christoph Willibald Gluck's's operatic style...
) was by placing the chord symbol in parentheses, thereby indicating that the chord functions only in relation to the chord immediately following it - for example, (VII) V.
In the English-speaking world, the analysis "V7 of IV" was first used by Walter Piston
Walter Piston
Walter Hamor Piston Jr., , was an American composer of classical music, music theorist and professor of music at Harvard University whose students included Leroy Anderson, Leonard Bernstein, and Elliott Carter....
in 1939, in a monograph entitled "Principles of Harmonic Analysis." (Notably, Piston's analytical symbol always used the word "of"--e.g. "V7 of IV" rather than the virgule "V7/IV.) In his 1941 "Harmony" Piston used the term "secondary dominant" for the first time.
Mozart example
In the Fifth edition of "Harmony" by Walter Piston and Mark DeVoto, a passage from the last movement of Mozart'sWolfgang Amadeus Mozart
Wolfgang Amadeus Mozart , baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart , was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music...
Piano Sonata K. 283 in G major serves as one illustration of secondary dominants. Below, the harmony alone is first given, labeled both for the literal names of the chords and for their chord number in the key of G major.
Cadence (music)
In Western musical theory, a cadence is, "a melodic or harmonic configuration that creates a sense of repose or resolution [finality or pause]." A harmonic cadence is a progression of two chords that concludes a phrase, section, or piece of music...
, which concludes the phrase. The lines drawn below the diagram show each instance in which a dominant is followed by its corresponding tonic.
The harmony is distributed more subtly between the notes, and goes faster, in Mozart's original:
Use in jazz
In jazz harmony, a secondary dominant is any Dominant chord (major-minor 7th chord) which occurs on a weak beat and resolves downward by a perfect 5th. Thus, a chord is a secondary dominant when it is functioning as the dominant of some harmonic element other than the key's tonic, and promptly resolves to that element. This is slightly different from the traditional use of the term, where a secondary dominant does not have to be a 7th chord, occur on a weak beat, or resolve downward. If a non-diatonic dominant chord is used on a strong beat, it is considered an extended dominant. If it doesn't resolve downward, it may be a borrowed chordBorrowed chord
A borrowed chord is a chord borrowed from the parallel key . Borrowed chords are typically used as "color chords", providing variety through contrasting scale forms, major and the three forms of minor...
.
Secondary dominants are used in jazz harmony in the Bebop blues and other blues progression variations, as are sub V and turnarounds
Turnaround (music)
In jazz, a turnaround is a passage at the end of a section which leads to the next section. This next section is most often the repetition of the previous section or the entire piece or song...
.
Popular music
Examples include II7 (V7/V) in Bob DylanBob Dylan
Bob Dylan is an American singer-songwriter, musician, poet, film director and painter. He has been a major and profoundly influential figure in popular music and culture for five decades. Much of his most celebrated work dates from the 1960s when he was an informal chronicler and a seemingly...
's "Don't Think Twice, It's All Right
Don't Think Twice, It's All Right
"Don't Think Twice, It's All Right" is a song written by Bob Dylan in 1962, and released on the 1963 album The Freewheelin' Bob Dylan.-Context:...
" and III7 (V7/vi) in Betty Everett
Betty Everett
Betty Everett was an African-American soul singer and pianist, best known for her biggest hit single, the million-selling "The Shoop Shoop Song ".-Early career:...
's "The Shoop Shoop Song (It's in His Kiss)
The Shoop Shoop Song (It's in His Kiss)
"The Shoop Shoop Song " is a song written by Rudy Clark. The song was made a hit when recorded by Betty Everett, who hit #1 on the Cashbox magazine R&B charts with it in 1964...
".
Extended dominant
An extended dominant is a non-diatonic secondary dominant seventh chordDominant seventh chord
In music theory, a dominant seventh chord, or major minor seventh chord,is a chord composed of a root, major third, perfect fifth, and minor seventh. It can be also viewed as a major triad with an additional minor seventh...
that resolves
Resolution (music)
Resolution in western tonal music theory is the move of a note or chord from dissonance to a consonance .Dissonance, resolution, and suspense can be used to create musical interest...
downwards to another dominant chord
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale...
. A series of extended dominant chords continues to resolve downwards by perfect fifth
Perfect fifth
In classical music from Western culture, a fifth is a musical interval encompassing five staff positions , and the perfect fifth is a fifth spanning seven semitones, or in meantone, four diatonic semitones and three chromatic semitones...
s until they reach the tonic chord.
Typically used in jazz
Jazz
Jazz is a musical style that originated at the beginning of the 20th century in African American communities in the Southern United States. It was born out of a mix of African and European music traditions. From its early development until the present, jazz has incorporated music from 19th and 20th...
, extended dominants have been used in other contexts as well.
Further reading
- Nettles, Barrie & Graf, Richard (1997). The Chord Scale Theory and Jazz Harmony. Advance Music, ISBN 389221056X
- Thompson, David M. (1980). A History of Harmonic Theory in the United States. Kent, Ohio: The Kent State University Press.
External links
- Secondary dominant construction drill in Javascript
- The Jazz Resource secondary dominant chords in jazz
- Gary Ewer's free lesson on Secondary Dominants