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  3. Ch.8.7 The secondary dominant chord

8.7 The secondary dominant chord

 

Category: Harmony | Tags: Chords, Triads

Theory

In this chapter you will learn about secondary dominant chords. First you will learn which steps you take to make a secondary dominant chord. Then I show you with examples how to apply these steps. You are goning to make them yourself in the exercise. I also give practical examples.

1. What is a secondary dominant chord?

A secondary dominant is a dominant chord (fifth degree) set to resolve to a degree that is not the tonic. This chord will act as a temporary dominant of another chord. The symbol for a secondary dominant is the dominant chord sign followed by a slash (/). The slash is followed by the scale degree into which the secondary dominant resolves. For example, we write V/IV to indicate a secondary dominant of the fourth degree.

2. How to make a secondary dominant?

To make a secondary dominant, take the following steps:

 

1 To make a secondary dominant, first we choose a scale degree - the fourth degree, for example.

2 Then, acting as if this is now the tonic, or first degree - the fourth degree functions as a first degree.

3 For this new first degree, we will make a fifth degree (dominant) - this is called a secondary dominant chord.

4 Adding a seventh to the secondary dominant makes it a secondary dominant seventh chord.

 

  • In a secondary dominant, there is always a non-scale tone.
  • A secondary dominant is always comprised of a major triad.
  • A secondary dominant seventh chord is always comprised of a major triad and a minor seventh and thus has the same structure as a dominant seventh chord.

 

3. Six examples

Here are six examples in which a secondary dominant has been made for the fifth degree, the second degree and the fourth degree of various major and minor scales.

1. A secondary dominant for the fifth degree in C major

 

1 The fifth degree in C major is G B D.

2 We now use this chord as if it were a first degree, making G the new tonic. The G major scale has one sharp: F sharp.

3 Using the fifth degree of the G major scale: D F# A, turns this chord into the secondary dominant.

 

The secondary dominant for the fifth degree in C major is comprised of the tones: D F# A. This is notated as V/V.
Now the chord connection I - IV - V - I can be extended to I - IV - V/V - V - I.

 

Examples

note example

2. A secondary dominant for the second degree in C major

 

1 The second degree in C major is D F A.

2 We now use this chord as if it were a first degree, making D the new tonic. The D major scale has two sharps: F sharp and C sharp.

3 Using the fifth degree of the D major scale: A C# E, turns this chord into the secondary dominant.

 

The secondary dominant for the second degree in C major is comprised of the tones: A C# E. This is notated as V/II.
Now the chord connection IV - II - V - I can be extended to IV - V/II - II - V - I.

 

Examples

note example

3. A secondary dominant for the fourth degree in C major

A secondary dominant can also be a dominant seventh chord.

 

1 The fourth degree in C major is F A C.

2 We now use this chord as if it were a first degree, making F the new tonic. The F major scale has one flat: B flat.

3 Using the dominant seventh chord (V7) of the F major scale: C E G Bb, turns this chord into the secondary dominant seventh chord.

 

The secondary dominant seventh chord for the fourth degree in C major is comprised of the tones: C E G Bb. This is notated as V7/IV - IV. Now the chord connection I - IV - V - I can be extended to I - V7/IV - IV - V - I.

 

Examples

note example

4. A secondary dominant for the fifth degree in A minor

 

1 In the natural A minor scale, the fifth degree is E G B. In the harmonic A minor scale, the fifth degree is E G# B.

2 We now use this chord as if it were a first degree, making E the new tonic. The E major scale has four sharps: F sharp, C sharp, G sharp and D sharp.

3 Using the fifth degree of the E major scale: B D# F#, turns this chord into the secondary dominant.

 

The secondary dominant for the fifth degree in A minor is comprised of the notes: B D# F#. In a minor scale, the function of a secondary dominant is the same - whether it be the natural, harmonic or melodic minor scales.

 

Examples

note example

5. A secondary dominant for the fourth degree in A minor

 

1 In the natural A minor scale, the fourth degree is D F A. In the melodic A minor scale, the fourth degree is D F# A.

2 We now use this chord as if it were a first degree, making D the new tonic. The D major scale has two sharps: F sharp and C sharp.

3 Using the fifth degree of the D major scale: A C# E, turns this chord into the secondary dominant.

 

The secondary dominant for the fourth degree in A minor is comprised of the notes: A C# E.

 

Examples

note example

6. A secondary dominant for the second degree in A minor

 

1 In the natural A minor scale, the second degree is B D F. In the melodic A minor scale, the second degree is B D F#.

2 We now use this chord as if it were a first degree, making B the new tonic. The B major scale has five sharps: F sharp, C sharp, G sharp, D sharp and A sharp.

3 Using the fifth degree of the B major scale: F# A# C#, turns this chord into the secondary dominant.

 

The secondary dominant for the second degree in A minor is comprised of the notes: F# A# C#.

 

Examples

note example

4. Practise

Harmony exercise 8c: practise making secondary dominant chords.

Get the full course

5. Secondary dominant: practical examples

A secondary dominant can be used in many different ways. Below are a few examples:

1. From the "Album fur die Jugend” by Robert Schumann:

  • no. 1 - Melodie in C major, V7/V - V connection in measure 4.
  • no. 2 - Soldatenmarsch in G major, V7/V - V - I connection in measure 8 - 9.
  • no. 4 - Ein Choral in G major, V7/V - V connection in measure 3 and V/V - V connection in measure 4.
  • no. 10 - Frohlicher Landmann in F major, I - V - V7/V - V - I connection in measure 3 - 5.

 

Examples

note example

2. From Scherzo D 593 no. 1 in B flat major by F. Schubert. In measure 8 - 12, there is a I - V7/IV - IV connection. The V7/IV is repeated three times.

 

Examples

note example

3. From "Lieder ohne Worte" by F. Mendelssohn

  • op. 102 no. 3 (no. 45) in C major, V7/V - C6/4 - V7 - I connection in measure 7 - 8.
  • op. 102 no. 6 (no. 48) in C major, starting at measure 5, the V7/V - V connection occurs several times in succession.

 

Examples

note example

4. From sonata op. 13 "Pathetique", 2nd movement in A flat major by Beethoven, I - V7/II - II connection in measure 6 - 7.

 

Examples

note example

5. From Nocturne op. 9 no. 2 in E flat major by F. Chopin, V7/VI - VI connection in measure 3.

 

Examples

note example