HOSTS- Jeremy Burns, Matthew Scott Phillips
TYPE- Theory
DURATION- 86:34
BUMPER MUSIC- "Waltzing With Purpose" (Area 47 Music)
ANNOUNCER- Mike Cunliffe
Join us, as we continue to venture toward the coming mountain of chromaticism. We will approach the foothills as we resume our discussion of secondary dominants. We will talk about how these chords can be used in the tonicization of chords other than the tonic, with their dominant function.
In this episode, we will focus on the V of ii (V/ii),
V of vi (V/vi) and the V of iii (V/iii).
-So far all the chords we have discussed have been diatonic. They've involved notes that were not originally in the scale. This will usually result in ACCIDENTALS.
-MELODIC and HARMONIC minor scales involve accidentals as well but those are still considered diatonic.
-CHROMATIC HARMONY (from the Greek root ‘chroma’= color) introduces chromatic notes, from outside of the given key signature.
REFER BACK TO EPISODE 45
SEDCONDARY DOMINANTS PT.1 (V/V, V/IV)
FOR MORE DETAILS ON BASIC THEORY AND VOICE LEADING CONSIDERATIONS
Here are some things to keep in mind as we discuss secondary dominants:
-The SECONDARY DOMINANT chords usually
contain CHROMATIC notes, which don't belong
to the given key signature.
-These chords achieve the function of
TONICIZATION, making a chord sound like the
tonic by preceding it with a chord of
DOMINANT function.
-V/V is the most commonly used of the
secondary dominants.
-In major, the ii chord is made into a II, or a II7,
and followed by the V.
-Likewise, in minor, the ii• chord is made into a
II, or a II7, and is followed by the V.
-We also discussed the V/IV chord.
-In major, it will be a I, or I7, chord that
resolves to IV.
-In minor, it will be a I, or a I7, chord that
resolves to IV.
-Sometime the secondary dominant aids in
voice leading tension.
-All the previously discussed voice leading and
counterpoint rules will still apply with all
secondary dominant chords.
-Where there is a secondary dominant, there will
also be a secondary leading tone.
1. Find the ROOT of the chord you want to
tonicize.
2. Go up a P5 (or down a P4) from that root note.
3. Spell a major triad (or Mm7 triad) from the note
discovered in the previous step.
When you encounter an altered chord, (be it via accidentals on sheet music or just a chord that sounds more colorful and a bit outside of the given key), try the following steps:
1. Is this a major chord or a Mm7 chord? If so, it
may be a secondary dominant.
2. Find the note a P5 below (or a P4 above) the
root of this altered chord.
3. Would the chord built on the note, discovered in
step 2, be a diatonic triad in this key?
- There is only one V/ii and it happens in MAJOR.
The vi chord be comes a VI and tonicizes the ii.
- In MINOR, the ii• chord is a diminished chord.
Therefore, it can NOT be tonicized.
- This can occur in major or minor.
- In MAJOR, the iii chord becomes a III, or III7, and
resolves to vi.
- In MINOR, the III (already a major chord) resolves
to VI. To distinguish it further as a secondary
dominant it can be made into a III7 chord. If it is not
followed by a VI, it is probably just a III rather than
a V/ VI.
- This chord can be effectively used to add tension,
or color, to a DECEPTIVE CADENCE (V - vi).
- This is fairly uncommon, as the III chord is fairly
uncommon.
- This can occur in major or minor.
- In MAJOR, the vii• chord becomes a VII, or VII7,
and resolves to iii. Sometimes, this results in
DOUBLE SHARPS in a sharp key.
- In MINOR, the VII (already a major chord) resolves
to III. To distinguish it further as a secondary
dominant it can be made into a VII7 chord. If it is
not followed by a III, it is probably just a VII rather
than a V/ III.
-The same rules of voice leading apply to the secondary dominants as those that apply to dominants.
-Where there is a secondary dominant, there will be secondary LEADING TONE.
-Try practicing progressions using these chords, using CHORALE or KEYBOARD styles.
-Don't neglect the MINOR keys while working on these progressions.
-We won't see a V/vii• in MAJOR for the same reason we won't see a V/ii• in MINOR. Diminished chords can NOT be tonicized.
-The chord that follows a SECONDARY DOMINANT can often reveal it's function.
MUSIC STUDENT 101