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H2 Week 5

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Megan Berry
Megan Berry

This document provides an overview of secondary dominants, extended dominants, and related IIm7 chords. It describes how secondary dominants usually resolve but can have deceptive resolutions, and how they often occur on weak stresses but not always. Extended dominants are strings of dominant chords that delay resolution through descending fifth root motion. Related IIm7 chords set up dominant functions and can be diatonic or non-diatonic, with available tensions depending on whether they are diatonic. The document provides examples and considerations for using these harmonic devices.

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Harmony 2 Week 5
Learning Outcomes By the end of todays session, students will be able to: Describe how secondary dominants function in progressions, including deceptive resolution Identify and construct extended dominants Identify and construct related IIm7 chords and their tensions
Secondary Dominants in Progressions Compare:
Deceptive Resolution of Secondary Dominants Secondary dominants generally resolve to their target chords, but deceptive resolution is also possible. See below:
Secondary Dominants on Strong Metrical Stresses Although secondary dominants typically occur on weak stresses, they do not always do so. Eg, because the V7 chord most often occurs at the end of a phrase (weakest possible stress point), its secondary dominant, V7/V usually appears on a relatively stronger stress:
Summary Secondary dominants usually appear on a weak harmonic stress Secondary dominants usually resolve as expected, but deceptive resolutions are also possible If a secondary dominant other than the V7/V appears on the strong stress, it usually resolves to its target chord
Extended Dominants Positioning a dominant chord on the primary stress point in a progression can set the stage for even longer patterns of dominant resolution An Extended Dominant series is: A string of three or more dominant chords that start on a strong harmonic stress point, and resolve, one to the next, by descending perfect-fifth root motion
H2 Week 5
The parallel chromatic scales in the essential voice leading create a very strong progressive pattern that continually delays resolution and a sense of rest. Our sense of normal diatonic function is temporarily suspended while we are carried along by the pattern on dominant resolution
Analysis for extended dominants involves two factors: 1. Arrows to show the pattern of dominant progression 2. The chord root that starts the series is labeled as a reference to the tonal center.
An extended dominant string can lead to diatonic goal chords other than Imaj7 In some cases it may not resolve at all.
H2 Week 5
H2 Week 5
Related IIm7 Chords The related IIm7 V7 unit is a minor7 dominant 7 pair with root motion by descending fifth that creates a strong expectation of resolution The II V is one of the most important defining features of jazz harmony, but its important in other styles as well In many styles the IIm7 and V7 work together to help define the tonality of a piece of music This pattern of IIm7 setting up the V7 chord can be copied and applied to secondary and extended dominants
Related IIm7s There are two kinds of related IIm7 chords diatonic and non- diatonic. Related IIm7 chords for the V7/IV, V7/III and sometimes the V7/VI will be non-diatonic Related IIm7 chords for the V7/II and V7/V and sometimes the V7/VI will be drawn from the key and therefore diatonic
H2 Week 5
Available Tensions When related IIm7 chords are diatonic, usually the approach is to use diatonic tensions as well IIIm7 T11 VIm7 T9, T11 VIIm7(b5): T11 and Tb13 Otherwise, use dorian T9, T11
Related IIm7 Summary and Practical Considerations Any dominant function chord can be preceded by its related IIm7 or IIm7(b5) The related II always sounds on a stronger harmonic stress point than the secondary dominant VIIm7(b5), IIIm7 and VIm7 are potential dual function chords: they are diatonic to the key and can also function as related IIs m7 and m7(b5) qualities are interchangeable, with these factors to considers: Diatonic related IIs sound more inside, conservative, they imply a predictable diatonic result Alternate versions of related IIs sound more colorful, whether brighter or darker they call the expected resolution into question. The related IIs of extended dominants have tensions 9 and 11

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H2 Week 5

  • 2. Learning Outcomes By the end of todays session, students will be able to: Describe how secondary dominants function in progressions, including deceptive resolution Identify and construct extended dominants Identify and construct related IIm7 chords and their tensions
  • 3. Secondary Dominants in Progressions Compare:
  • 4. Deceptive Resolution of Secondary Dominants Secondary dominants generally resolve to their target chords, but deceptive resolution is also possible. See below:
  • 5. Secondary Dominants on Strong Metrical Stresses Although secondary dominants typically occur on weak stresses, they do not always do so. Eg, because the V7 chord most often occurs at the end of a phrase (weakest possible stress point), its secondary dominant, V7/V usually appears on a relatively stronger stress:
  • 6. Summary Secondary dominants usually appear on a weak harmonic stress Secondary dominants usually resolve as expected, but deceptive resolutions are also possible If a secondary dominant other than the V7/V appears on the strong stress, it usually resolves to its target chord
  • 7. Extended Dominants Positioning a dominant chord on the primary stress point in a progression can set the stage for even longer patterns of dominant resolution An Extended Dominant series is: A string of three or more dominant chords that start on a strong harmonic stress point, and resolve, one to the next, by descending perfect-fifth root motion
  • 9. The parallel chromatic scales in the essential voice leading create a very strong progressive pattern that continually delays resolution and a sense of rest. Our sense of normal diatonic function is temporarily suspended while we are carried along by the pattern on dominant resolution
  • 10. Analysis for extended dominants involves two factors: 1. Arrows to show the pattern of dominant progression 2. The chord root that starts the series is labeled as a reference to the tonal center.
  • 11. An extended dominant string can lead to diatonic goal chords other than Imaj7 In some cases it may not resolve at all.
  • 14. Related IIm7 Chords The related IIm7 V7 unit is a minor7 dominant 7 pair with root motion by descending fifth that creates a strong expectation of resolution The II V is one of the most important defining features of jazz harmony, but its important in other styles as well In many styles the IIm7 and V7 work together to help define the tonality of a piece of music This pattern of IIm7 setting up the V7 chord can be copied and applied to secondary and extended dominants
  • 15. Related IIm7s There are two kinds of related IIm7 chords diatonic and non- diatonic. Related IIm7 chords for the V7/IV, V7/III and sometimes the V7/VI will be non-diatonic Related IIm7 chords for the V7/II and V7/V and sometimes the V7/VI will be drawn from the key and therefore diatonic
  • 17. Available Tensions When related IIm7 chords are diatonic, usually the approach is to use diatonic tensions as well IIIm7 T11 VIm7 T9, T11 VIIm7(b5): T11 and Tb13 Otherwise, use dorian T9, T11
  • 18. Related IIm7 Summary and Practical Considerations Any dominant function chord can be preceded by its related IIm7 or IIm7(b5) The related II always sounds on a stronger harmonic stress point than the secondary dominant VIIm7(b5), IIIm7 and VIm7 are potential dual function chords: they are diatonic to the key and can also function as related IIs m7 and m7(b5) qualities are interchangeable, with these factors to considers: Diatonic related IIs sound more inside, conservative, they imply a predictable diatonic result Alternate versions of related IIs sound more colorful, whether brighter or darker they call the expected resolution into question. The related IIs of extended dominants have tensions 9 and 11

Editor's Notes

  1. Show I Got Rhythm Rehearsal mark B Extended Dominant