Music Theory: Secondary Dominants Explained – Guide

Secondary dominants can be applied to any song by inserting the dominant preparation before the target chord. For example, in a song in C major going to A minor, insert E7 before A minor; going to F major, insert C7 before F; going to D minor, insert A7 before D minor. This technique enriches harmonies and creates more sophisticated musical arrangements. Developing musical taste requires experimenting with secondary dominants, listening to how they sound, and understanding when they work well. This process helps musicians demystify harmonic structures and develop their ear for sophisticated chord progressions.

A secondary dominant is a harmonic device where a V-I or V7-I progression occurs in a key other than the prevailing key, temporarily creating tension before resolving back to the original key; the I chord of the secondary dominant must also be a chord in the original key to ensure smooth harmonic function, allowing composers to add harmonic color without full modulation.

A secondary dominant is a chord that appears in a song but does not belong to the main chord family (key). For example, in C major, E7, A7, or D7 are secondary dominants because they are not part of the C major family. The primary dominant is the fifth degree chord of the main key (G7 for C major). To find a secondary dominant for any chord, identify the fifth note of that chord. For D minor, the fifth is A, so the secondary dominant is A7. For E minor, the fifth is B, so the secondary dominant is B7. These secondary dominants function as bridges or passing chords that connect to their target chords, creating tension and resolution. A secondary dominant chain creates a sequence where each chord is the secondary dominant of the next chord (C - A7 - D7 - G7), creating forward momentum. In popular songs like 'Indonesia Pusaka' and 'Adurayu', secondary dominants are extensively used to create interesting chord progressions and smooth transitions between chords that are not directly connected in the key.

Secondary dominants are dominant seventh chords built on diatonic chord roots, creating temporary harmonic tension before resolving. For example, E7 serves as the secondary dominant of Am in C major. Modulation changes tonal centers using dominant seventh chords of new keys or common chords functioning in both keys. Modulation to relative minor involves simply playing the V chord of the minor key. These techniques enable composers to expand harmonic vocabulary, create dramatic shifts, and explore tonal relationships while maintaining coherent musical structure.

Extended dominants are created by connecting multiple dominant secondary chords in sequence. A dominant chord is a major triad with a minor seventh (e.g., G7). In a major key, the diatonic progression is I (major), ii (minor), iii (minor), IV (major), V (major), vi (minor), vii° (diminished). However, when creating extended dominants, the third degree (normally minor) becomes major with a minor seventh to create tension requiring resolution to the sixth degree. The fourth degree (normally major) becomes a dominant secondary chord resolving to the fifth degree. The fifth degree (normally major) becomes a dominant secondary chord resolving to the first degree. This creates a chain of dominant chords that resolve sequentially through the key, creating tension and release throughout the progression.

Dominant extended chords refer to creating a chain or sequence of dominant seventh chords that lead to a target chord. The process involves adding dominant chords before the target chord to build tension. For example, to resolve to G, you might use D7 (the fifth degree of G), then add A7 (the fifth degree of D), then E7 (the fifth degree of A), and finally resolve to G. This creates a chain of dominants: E7 → A7 → D7 → G. The chain can be extended further by continuing to add dominant chords (like B7, which is the fifth degree of E).

Extended dominants (dominants that resolve to other dominants) can be accompanied by a second minor seventh relative. Extended dominants always resolve to another dominant, so they have options for both direct and indirect resolution. Chains of extended dominants can be constructed with two types of resolutions: in the first type, dominants resolve to other dominants (indirect resolution) with intercalated second minor seventh relatives; in the second type, dominants resolve directly to their second minor seventh relatives. These chains can be combined with some 2-5 relationships having direct resolution and others having indirect resolution, creating flexible harmonic textures. This technique is useful for generating bridges toward modulations or filling sections with limited harmonic movement.

A dominant seventh chord (C7) can resolve to other dominant seventh chords. The instructor demonstrates this by showing C7 resolving to Db7, D7, F7, Gb7, G7, Ab7, and A7. This shows that dominant chords can function as dominant chords themselves, creating chains of dominant resolutions.

This comprehensive lesson covers the theory and practical application of extended dominant seventh chords in music. The instructor explains three types of dominant seventh chords: primary dominants (most important, found on the fifth degree), secondary dominants (second most important, found on the second degree), and extended dominants (sequences of 3+ connected dominant seventh chords). The lesson demonstrates how to analyze extended dominant progressions using arrow notation, showing root movement and chord connections. Practical application is shown through the song 'Twinkle Twinkle Little Star,' where the instructor analyzes chord progressions, distinguishes between primary and secondary dominants, and explains melodic resolution techniques. Extended dominants are commonly used at song endings to create tension before returning to the tonic.

A deceptive resolution occurs when a secondary dominant chord (which typically resolves to its expected target chord) unexpectedly resolves to a different chord, creating harmonic surprise and tension; this technique is commonly used in jazz and classical music to create unexpected harmonic movement and expand musical vocabulary.

A secondary deceptive resolution occurs when a secondary dominant chord (V7/ii, V7/iii, or V7/vi) resolves to a chord other than its expected tonic, typically by moving up a major second to a minor triad or a minor second to a major triad; unlike normal secondary functions, these deceptive resolutions can be analyzed as V7 going to vi in the key of the target chord, and they work effectively for V7/IV, V7/V, and V7/vi but not for V7/ii or V7/vii diminished due to voice-leading and harmonic progression constraints.

Secondary dominants can arise from altering diatonic degrees. The 6th degree can become the 5th of the 2nd by altering its third. The 2nd degree can become the 5th of the 5th by altering its third. The 5th of the 6th can appear directly before the 1st degree and resolve to the 6th degree. The 5th of the 2nd can precede the 5th, which resolves as the primary dominant to the 1st degree. Secondary dominants can resolve deceptively rather than to their expected target degree. For example, the 5th of the 6th (B7 in C major) can resolve to the 2nd degree (D major) instead of the 6th degree (A major). This creates a deceptive cadence, which is an expected and acceptable resolution within secondary dominant contexts. When dominant chords contain seventh notes, the tritone resolution becomes more complex. The tritone can resolve to the fundamental and third of the target chord, or the third can resolve to the fundamental while the seventh prolongs. The optimal approach is to think in terms of guide tones (third and seventh) rather than parallel movements between root and fifth.

Secondary dominants do not always resolve to their expected targets. A deceptive resolution occurs when a secondary dominant resolves to a different chord. In Radiohead's 'Creep,' B7 (dominant of Em) resolves to C major instead of Em, creating a 'broken cadence' effect. This works because C major and Em share common notes (E and G). Secondary dominants also function effectively in minor keys. In 'Bésame Mucho,' the song demonstrates how secondary dominants can create modal interchange effects, such as moving from Em minor to Em major, adding harmonic richness to minor key compositions.

In 'Yesterday' (F major), A7 resolves to D minor (the sixth degree), analyzed as '5/6'. In 'Crepe' (G major), E7 (dominant of A minor) doesn't resolve to A minor but goes to C major, showing secondary dominants can lead to unexpected destinations. In 'Love Me Tender' (G major), multiple secondary dominants appear: A7 (dominant of B minor), C7 (dominant of D major), and G7 (dominant of A minor). This demonstrates how secondary dominants create rich harmonic movement throughout songs.

This video covers the essential rules of part writing for four-voice textures. Two main textures exist: chorale style (SATB) with soprano/alto on treble clef and tenor/bass on bass clef, and keyboard style with three voices on treble and one on bass. Each voice has a range of about a tenth with endpoints as C major triad notes. Spacing requires an octave or less between adjacent upper voices. Avoid parallel perfect fifths and octaves, but parallel fourths are acceptable. Voice leading rules depend on chord root intervals: move upper voices in contrary motion when roots differ by second, retain common tones when roots differ by third/sixth, and retain common tone when roots differ by fourth/fifth. Double the root in 99% of cases, except for incomplete five-seven chords (double/triple root) and seven diminished chords (double third). Tendency tones include the leading tone (scale degree 7) which must resolve to tonic if in outer voice, and scale degree 4 which is only strong when paired with scale degree 7.

Chromatically altered notes have specific voice leading obligations. The lowered second degree (Bb) must move downward toward the leading tone (B natural), creating a diminished third interval. This follows the principle that sustained notes rise and flattened notes fall. The chord typically resolves to the dominant, with the fifth degree optionally having a seventh. The lowered second degree can pass through the first degree as a chromatic passing note before reaching its destination.

Proper voice leading requires thinking of four voices as three plus one rather than two plus two. Large spaces between alto and tenor create poor texture and make the tenor too low. Maintain no more than an octave between neighboring parts except tenor-bass. Bach frequently uses passing notes to create seventh chords, adding tension that resolves to the next chord. Shared notes between chords create smooth part writing and stability.

Bach chorales serve as the 'old testament' of classical music fundamentals, teaching common practice harmony. Students learn to harmonize hymn tunes by identifying cadences (typically perfect 5-1), establishing bass lines, chord progressions, and inner voices. Key rules include: seventh chords must always fall, leading notes must always rise, and proper preparation/resolution of dissonances. Voice leading ensures each part moves stepwise without awkward leaps, creating natural chord transitions. This concept is crucial for jazz chord voicing, where chromatic movement feels cohesive when notes slide stepwise. Bach mastered this—his four-part chorales have functional vertical harmony while each melody maintains independent momentum.

Advanced voice leading involves adding notes beyond basic guide notes while maintaining harmonic function. Practice adding the 6th, 9th, 11th, and 13th to create richer harmonies. Each voice can move independently, creating complex textures. Chromatic resolution involves notes moving by half steps to create tension and release. Practice having voices move in contrary motion while maintaining harmonic function. This creates sophisticated harmonic textures common in jazz and MPB.