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H2 Week 4

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Megan Berry
Megan Berry

This document discusses secondary dominant chords, which are dominant chords that create an expectation of resolution down a perfect fifth to a diatonic chord called the target chord. It explains that secondary dominants have diatonic roots located a perfect fifth above their target chords. Students will learn to identify, analyze, and construct secondary dominant chords as well as identify the available tensions and chord scales for secondary dominants, which are typically some form of Mixolydian chord scale.

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Harmony 2 Week 4
Learning Outcomes By the end of today’s session, students will be able to: • Identify, analyze and construct secondary dominant chords. • Identify the available tensions and chord scales for secondary dominant chords
Chromatic tendency tones • Chromatic tones have a powerful tendency to resolve to diatonic neighbor tones. • Chromatic notes can be employed to create forward harmonic motion
Listen
Listen Strong sense of resolution
• By changing the G to a G#, we’ve changed the interval structure of the Em7 chord • Creates a triton • Becomes a dominant chord • The dominant quality, with G# as a leading tone creates an expectation of resolution down to Am • Therefore, E7 functions as a secondary dominant to Am • It’s the V7 chord of the VIm7 chord (V7 of VI, V7/VI)
Secondary Dominants • Secondary dominants are dominant chords that create an expectation of resolution down a fifth to a diatonic chord • The diatonic chord of resolution can be called a target chord • Create a strong expectation of resolution down a perfect fifth • This can be used to create resolution to a diatonic chord other thn the tonic
Observations • Secondary dominants have diatonic roots • Secondary dominants are rooted a perfect fifth above their diatonic targets • Secondary dominants come before their diatonic targets
H2 Week 4
H2 Week 4
Available Tensions • The available tensions for secondary dominants are diatonic extensions of the chord • Tensions for secondary dominants reinforce the diatonic tonality by using diatonic tensions • You can use altered (non-diatonic) tensions as a creative choice. • All secondary dominants use some form of Mixolydian chord scale or other
V7/IV, V7/V – Mixolydian (9, 13)
V7/VI – Mixolydian b9, #9, b13
V7/III – Mixolydian b9, #9, b13
V7/II – Mixolydian 9, b13 or b9,#9,b13
Summary • Chord tones + diatonic tensions = available tenions for dominant chords • The result is always dome variety of Mixolydian chord scale • Scale tone 4 is a harmonic avoid note • Major tensions (9,13) suggest a major quality target chord • Minor and augmented tensions (b9, #9, b13) suggest a minor quality target chord • Substituting or altering tensions is a common creative option

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H2 Week 4

  • 2. Learning Outcomes By the end of today’s session, students will be able to: • Identify, analyze and construct secondary dominant chords. • Identify the available tensions and chord scales for secondary dominant chords
  • 3. Chromatic tendency tones • Chromatic tones have a powerful tendency to resolve to diatonic neighbor tones. • Chromatic notes can be employed to create forward harmonic motion
  • 6. • By changing the G to a G#, we’ve changed the interval structure of the Em7 chord • Creates a triton • Becomes a dominant chord • The dominant quality, with G# as a leading tone creates an expectation of resolution down to Am • Therefore, E7 functions as a secondary dominant to Am • It’s the V7 chord of the VIm7 chord (V7 of VI, V7/VI)
  • 7. Secondary Dominants • Secondary dominants are dominant chords that create an expectation of resolution down a fifth to a diatonic chord • The diatonic chord of resolution can be called a target chord • Create a strong expectation of resolution down a perfect fifth • This can be used to create resolution to a diatonic chord other thn the tonic
  • 8. Observations • Secondary dominants have diatonic roots • Secondary dominants are rooted a perfect fifth above their diatonic targets • Secondary dominants come before their diatonic targets
  • 11. Available Tensions • The available tensions for secondary dominants are diatonic extensions of the chord • Tensions for secondary dominants reinforce the diatonic tonality by using diatonic tensions • You can use altered (non-diatonic) tensions as a creative choice. • All secondary dominants use some form of Mixolydian chord scale or other
  • 12. V7/IV, V7/V – Mixolydian (9, 13)
  • 15. V7/II – Mixolydian 9, b13 or b9,#9,b13
  • 16. Summary • Chord tones + diatonic tensions = available tenions for dominant chords • The result is always dome variety of Mixolydian chord scale • Scale tone 4 is a harmonic avoid note • Major tensions (9,13) suggest a major quality target chord • Minor and augmented tensions (b9, #9, b13) suggest a minor quality target chord • Substituting or altering tensions is a common creative option

Editor's Notes

  1. After hearing the first measure of each example, our ears are open to any of the three possibilities and the outcome of all three examples are equally acceptable
  2. Example B sounds the most logical and inevitable, although all sound acceptable.