HOSTS- Jeremy Burns, Matthew Scott Phillips
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
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
- 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
- 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