Module 12 — Secondary Dominants: How to Make Chords Pull Toward Other Chords
This module fully explains the orange chords from your original chart.
The big idea is:
A dominant seventh chord does not have to resolve only to the tonic of the current key. You can temporarily make another chord feel like a destination by preceding it with its dominant.
That is a secondary dominant.
12.1Start from the familiar dominantIn C major:12.2Why E7 pulls to AmE7:12.3A secondary dominant temporarily creates local gravityYou are still broadly in C major.12.4Tonicization versus modulationA brief emphasis on another chord.12.5Find the dominant of any destinationThe rule is simple:12.6Secondary dominants in C majorThe diatonic chords in C:12.7Notice all the “wrong notes”In C major:12.8The accidental tells you where the harmony is goingThis becomes a powerful reading skill.12.9Play the chromatic linesThis is one of the best ways to hear secondary dominants.12.10Another oneFocus on:12.11AnotherFocus on:12.12A beautiful chainNow combine them:12.13Compare basic and enriched versionsPlay:12.14Why A7 goes to Dm even though Dm is minorDominant resolution does not require the destination to be major.12.15V7/V is extremely commonIn C:12.16Build a longer dominant chainStart at C.12.17This is the orange ring in your chartNow the chart should make much more sense.12.18Secondary dominants versus diatonic dominantsIn C major:12.19Why C7 is unusual in C majorC major tonic chord is:12.20Hear C versus C7Play:12.21Secondary dominant notation looks intimidating but is simpleSuppose:12.22Practice reading from right to leftIn C:12.23Secondary dominants in G majorG major chords:12.24This is why Roman numerals matterIn C:12.25Secondary dominant into ii–V–IOne of the most useful patterns:12.26Why A7 sounds good after Cmaj7Cmaj7:12.27Smooth voicing exampleTry:12.28Another useful pattern: V7/viIn C:12.29Combine bothPlay:12.30Secondary dominant of IVTry:12.31Secondary dominant of VTry:12.32Secondary dominant of iiiThis one is less immediately familiar but useful.12.33Don't overuse secondary dominantsIf every chord gets its own dominant:12.34Melody must still fitSuppose melody note is G over what was originally Am.12.35Melody compatibility exampleSuppose melody over E7 is B.12.36Secondary dominant can alter melody notes tooIf you're arranging freely, you may even modify a melody slightly to accommodate the richer harmony.12.37Dominant seventh versus major seventh againVery important:12.38Secondary dominants do not have to include 7thYou may also see:12.39Apply to a simple songSuppose basic progression:12.40Make a ballad progression richerBasic:12.41Secondary dominant + ii–VWant to tonicize F temporarily?12.42Compare three levels of preparationDestination = F.12.43Same for GDestination G:12.44Same for a minor destinationDestination Dm.12.45Ear training: predict the destinationPlay these and stop before resolving:12.46Then distinguish major/minor destination by contextE7 can resolve to:12.47Dominant chord gives root destination, not modeFor example:12.48Tritone gives another clueA7 guide tones:12.49A useful improvisation exerciseLoop:12.50Chromatic target exercisePlay a simple right-hand line:12.51Secondary dominant spotting exerciseYou're in C major.12.52Build them in other keysIn F major:12.53Use the Circle of Fifths physicallyAt the piano, play:12.54Daily “dominant of...” drillPick a random chord.•Homework for Module 12Memorize and play:•Module 12 mini-test1. What is a secondary dominant?