Using Secondary Dominant Chords
We’ve already learned how a V7 chord cadences to a I chord. To create tension and motion in a chord progression, we can mimic this cadence by build a dominant 7 chord a perfect fifth above any diatonic chord, as long a the root of that dominant chord happens to be a diatonic pitch. Therefore, the VIIdim is the only chord which may not have a secondary dominant. It is analyzed as V7/x where x is the diatonic chord a fifth below the dominant to which it resolves.
For example, the IV chord in G is C and can proceeded by a G7, as G is a fifth above C and a diatonic pitch. This would be analyzed as V7/IV.
As another example, the VI- in C is A minor, which could be proceeded by an E7. This is analyzed as V7/VI-
Exercise 1
Analyze the chord progression and circle the secondary dominants of the following popular songs.
“In My Life” by The Beatles
|G—D—|—Em— G7—|C—Cm—|G———|
“First Day Of My Life” by Bright Eyes
|C———|E7———|Am———|Am———|F———|G———|C———|C———|
“Hallelujah” by Leonard Cohen
|G————— |Em7—————|G————— |Em7—————|
|C—————|C——D——|G—————|D—————|G—————|C——D——|
|Em—————|C—————|D—————|B7—————|Em—————|Em—————|
Exercise 2
Pick a major key, write out its chord and then their secondary dominants. Use these chords to compose a song or chord progression with at least two secondary dominants.
I II- III- IV V VI- VIIdim
_______ Major
V7/I V7/II- V7/III- V7/IV V7/V V7/VI-
Exercise 3
Now repeat the above exercise in a minor tonality.
I- IIdim bIII IV- V- (V7) bVI bVII
_______Minor
V7/I- V7/bIII V7/IV- V7/V- or V& V7/bVI V7/bVII
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