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151 - PDFsam - Kupdf - Net - Techniques and Materials of Music

This document provides information about secondary (applied or borrowed) dominant chords. It discusses how any diatonic triad can be preceded by its own dominant chord, creating an altered chord. It provides examples of secondary dominants and their typical resolutions. The document also notes formulas for raised and lowered scale degrees that usually indicate secondary dominant functions.

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49 views5 pages

151 - PDFsam - Kupdf - Net - Techniques and Materials of Music

This document provides information about secondary (applied or borrowed) dominant chords. It discusses how any diatonic triad can be preceded by its own dominant chord, creating an altered chord. It provides examples of secondary dominants and their typical resolutions. The document also notes formulas for raised and lowered scale degrees that usually indicate secondary dominant functions.

Uploaded by

paco desantis
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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1 Secondary (Applied,
Borrowed) Dominants

I. Altered chords are chords having one or more notes that are not in the diatonic scale of the key of a given
passage. (The raised forms of the sixth and seventh scale-degrees in minor are considered diatonic.) The most
common type of altered chord in tonal music is the secondary (applied or borrowed) dominant.

A. The following are examples of altered chords:

B. The following are examples of diatonic chords:

II. Just as the tonic chord is often preceded by its dominant function chords, any major or minor diatonic triad
may be preceded by one of its own dominants. For example, the A dominant seventh chord in the following
example, found in the key of C major, would be considered altered by virtue of the C . It is V7 in the key of
D minor. Since the D-minor triad functions as ii in C major, we analyze the altered chord as a secondary
dominant—V7/ii (read “V7 of ii”). This altered chord could also have other functions in other keys, as follows:

III. A secondary dominant chord usually resolves to its expected chord of resolution using the normal doubling
and voice-leading procedures of diatonic dominants. It may also resolve deceptively, as in the last example
that follows:

139
IV. Any chord with dominant quality (M, Mm7, d, dd7, dm7, or dominant ninth) may function as a secondary
dominant. The half diminished seventh normally resolves to major triads, never to minor triads. The follow-
ing are the possible chords “of V” in the key of G:

V. A secondary dominant chord may substitute for any diatonic chord with the same function. For instance, vi
(which usually resolves to ii or IV) may be replaced by a secondary dominant of ii or IV; ii or IV may be
replaced by a secondary dominant of V.

VI. A secondary dominant may progress to another secondary dominant, typically as part of the circle of fifths. For
instance, the progression V7/ii–ii may be replaced by V7/ii–V7/V, since the latter chord can be used to replace
ii. Furthermore, secondary dominants of any quality may be freely interchanged, as in example B that follows:

*Note doubled third.

140 CHROMATIC MATERIALS


VII. Common altered scale-degree formulas follow. These may be useful for determining the harmonic implication
of any chromatic note that is clearly a chord tone.

A. For raised scale-degrees, note that the raised note is usually the third of a V (or V7) sound or the root of
a vii•7 (or viiø7) sound.

B. For lowered scale-degrees, note that the lowered note is usually the seventh of either a V7 or vii•7 sound.

VIII. Secondary dominants are sometimes preceded by a dominant preparation, as follows:

SECONDARY (APPLIED, BORROWED) DOMINANTS 141


Analysis
Analyze the examples in Unit 17 of Music for Analysis. Consider the following:

1. Where does chromaticism occur?

2. Is the chromaticism essential or embellishing?

3. If it is essential, what harmonic function does it express?

4. Where do the altered chords occur in the phrase?

Exercises
1. Spell the following chords in G major and B major, in root position; use treble clef and key signatures:
V7/V, vii•/V, vii•7/V, vii•7/ii, V/vi, V7/iii, and V7/IV.

2. Spell the following chords in E minor and D minor, in root position; use bass clef and key signatures: V/V,
V7/iv, V7/VI, vii•7/V, V7/III, and vii•7/III.

3. Explain what functions a dominant seventh chord built on A would have in the following keys: G, g, F, D,
C, and B . List keys, and analyze functions in roman numerals.

4. Analyze the function of an F fully diminished seventh chord in the following keys: G, g, F, E , D, C, c,
and B .

5. Analyze the given chords and resolve normally.

6. Harmonize the following melodies, using secondary dominants in the appropriate places. Analyze fully.
a.

b.

c.

142 CHROMATIC MATERIALS

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