Dominant Functions in Minor Keys ‘SubV7, SubV7/1V, SubV7/V Other Minor Key Dominant Chords 42 HARMONY 3 ‘The same approach is used for V7/II and V7/V, the other common sec- ondary dominants in minor: appropriate chord tones, plus tensions from the key signature, This will provide the most basic, diatonic sound for the musical passage. As in majos, any alteration ofthe scale is possible, depending on the intentions of the player or writer. ‘The secondary dominant of VI-755 is almost never encountered; V7/bIIL and V7/SVIL will be discussed below. These three substitute dominant chords are fairly common in minor key tunes, especially those in the jazz and contemporary Gospel music tradi- tions. They resolve to diatonic targets down a half-step, and use the same ‘chord scale, Lydian 97, as their major-key counterparts. The following ‘example isin B minor: suv, Tensions are: 1. 9,811, 13 2 clatonic 3. comman tones with chord of resolution (except one note on V7) Rots are a haitstep above the chord of resolution, subV7 c7 cc 7 ‘As mentioned earlier, there are three dominant chords common in minor key progressions that can be a perfect fifth above a diatonic pitch and at the same time a half-step above another diatonic pitch, for example: In Bminos D7 canbe: Yao iNT | easnndammdedenddd enddedcccad cqeeeereeehaguaaeecetThe choice of chord scale, either for use in a voicing ora melodic passage will create different expectations. Compare these two examples: yp cas Fi7sus4 Fi7sus4 F47 B— {n example 1, the G natural as a passing tone on D7 anticipates the root of the chord of resolution, VI In example 2, the Gis diatonic to the composite minor scale Placing D7 on a very weak harmonic stress point strengthens the perception ofits subV function, ovr, Visa SVIT? isa diatonic chord in minor keys it commonly progres step to tonic I-. Ivalso appears tobe the secondary dominant of sl, a Petfect fifth below. However, secondary dominants by definition contain 4 chromatic alteration. The chord scale for either situation is Mixolydian Lydian 67 is theoretically possible bu in practice is almost never used, because #11 ofthe chord would be the major 3 in a minor key, wir 7 battmaj co Bir c. 847 Ebmajz —— ui Mixolyaian tysianb7 PART 2 Dominant Chord Functions 43Dominant Functions in Minor Keys SubV7/IL, VZV 1V7, V7/3VI1 44 HARMONY 3 SubV7/II (a chord which may progress doven a half-step to I[-)is also the secondary dominant of Vimaj? (the diatonic chord a perfect fifth below). Therefore the chord scale may be either Lydian 67 or Mixolydian, although Mixolydian is much more common. 42155, straight ths c-6 Ea Abmai7G7sus4 G7 C6 C6 EASE DTS D7 o Lydian 7 is theoretically possible but is not generally used, because #11 of the chord is the major 6” of the key; Sis the diatonic minor 6" of the key. Inthe example above, subV/IL in measure 6 is placed on a very weal harmonic stress and is prepared by a related [I-75 to clarify its subV7 function, 1V7 is usually associated with the I-7 chord. Together they appear to have a 1 relationship, bu tis misleading o analyze them using the bracket, since they are nota subdominant/dominant pai, ‘When used asa diatonic chord in minor, 1V7 is @ subdominant chord from tonic Dorian, and usually progresses (not resolves) back to I~3it usually uses a Mixolydian chord scale, (Lydianb7 is an option, especially if the tonic scale is melodic miner). 1V7 is also a perfect fifth above the WII chord, and sometimes resolves, there. A Mixolydian scale is again the appropriate choice: Vin bvi7 —~ BT ow W C7 FF tae Le foun Mixolyian Moxolyian a AAMAAAAAAAAAAAVAAAAAAVANAANADAAAAAAAVANAANAAAA ED