What is a Secondary Dominant? - Music Theory
TLDRThe video explains the concept of secondary dominants in music theory. A secondary dominant is when you temporarily go to the V or V7 chord in a key other than the prevailing key, then resolve to the I chord in that key before returning to the original key, adding color without modulating keys. The I chord of the secondary dominant must belong to the prevailing key too. This technique spices up phrases in the home key. Examples demonstrate using secondary dominants of chord II, III, IV, V, and VI in the key of F major, showing how they add interest before resolving back to F major.
Takeaways
- 😀 A secondary dominant is a V-I or V7-I progression in a key other than the home key, used for color without modulating.
- 🎹 The I chord of the secondary dominant must belong to the prevailing key.
- 🔑 Secondary dominants add color and interest, like herbs and spices in cooking.
- 💡 They go outside the key briefly before returning to the home key.
- 🎶 They sound like they don't belong at first before resolving.
- 📝 The secondary dominant key's I chord must be a chord in the home key.
- 🎼 Chords II, III, IV, V & VI in the home key work well as secondary dominants.
- 🎚 Diminished chords don't work because they can't be a I chord.
- 🤔 Any key could be used, but should belong to the prevailing key too.
- 🎵 Overall they add flair without fully changing keys.
Q & A
What is the definition of a secondary dominant?
-A secondary dominant is when you temporarily go V-I or V7-I in a different key, before returning to the original key, as if nothing has happened.
Why use secondary dominants in music?
-Secondary dominants add color and flavor to the music, like sprinkling herbs when cooking. They allow you to add some harmonic interest without fully modulating to another key.
What requirements are there for the I chord in a secondary dominant?
-The I chord in the secondary dominant must also be a chord that belongs to the prevailing, original key. Otherwise, the modulation will not be smooth.
How do you know which keys you can use for secondary dominants?
-You can work through the chords of the original key. Many of them will also be the I chord of another key, allowing a temporary modulation to that key before returning.
Can you use secondary dominants on any chord in the original key?
-Yes, you can use secondary dominants on chord II, III, IV, V, and VI in the original key. These are all also the I chord of another key.
What's an example of a poor use of secondary dominant?
-Going to the V-I of E major while in the key of F major does not work well, because the I chord of E major does not belong to the key of F major.
What are the chord progressions that make up a secondary dominant?
-The chord progressions are typically V-I, V7-I, or some variation like V7b-I. But always involving the dominant and tonic chords.
What effect does a secondary dominant have on the listener?
-It creates a sense of temporary modulation that adds harmonic color and interest before resolving back to the home key. This adds flavor without fully changing keys.
Can you use more than one secondary dominant in a piece?
-Yes, you can use multiple secondary dominants in the same piece to add harmonic interest at different points.
Do you have to use a secondary dominant chord?
-No, you can imply the secondary dominant just by using its leading tone note in a melody or baseline. But the chord creates a stronger effect.
Outlines
😃 What is a secondary dominant?
This paragraph defines what a secondary dominant is - it is when we temporarily go V-I or V7-I in a different key, before returning to the original key. The I chord must belong to both the temporary key and the original key for smooth modulation. It adds color and flavor to the music.
😊 Identifying possible secondary dominants
This paragraph explains how to identify which keys you can use for secondary dominants. You work through the chords of the original key, and see which are also chord I in another key. Those keys can then be used for temporary V-I modulations as secondary dominants before returning to the original key.
Mindmap
Keywords
💡secondary dominant
💡modulation
💡prevailing key
💡V-I progression
💡color
💡diatonic chords
💡tonicize
💡smooth
💡subtle
💡phrases
Highlights
A secondary dominant is a V-I or V7-I progression in a key other than the prevailing key, used for color without modulation.
The I chord in the secondary dominant progression must belong to the prevailing key, so the modulation is subtle.
You can use secondary dominants on scale degrees II, III, IV, V, and VI since those chords are also I chords of other keys.
Secondary dominants add color and interest to a progression without fully modulating keys.
The I chord of an out-of-key secondary dominant will stick out badly if it doesn't belong to the home key.
Chord II in the home key is I in its relative minor, so you can secondary dominate to the relative minor.
Chord III is I in its parallel minor so you can secondary dominate to the parallel minor.
Chord IV works for secondary dominance to its own key, like the example in Bb.
Chord V is I in its own major key, so secondary dominants work there.
Chord VI is I in its relative minor so secondary dominants work there too.
Diminished chord VII does not work for secondary dominants since it has no major or minor key.
Sprinkling in some secondary dominants is like adding herbs and spices to cooking - it increases the flavor.
Listen to how the secondary dominant adds color to the F major phrase.
They allow temporary tonicizations of other diatonic chords without fully changing keys.
So in summary, secondary dominants add spice through brief out-of-key modulations.
Transcripts
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