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4 - Secondary Dom - Modal Int PDF
4 - Secondary Dom - Modal Int PDF
Music 214
Secondary dominant has many definitions depending on the type of musical genre
you are working in. Generally speaking, it is typically a dominant 7th chord that is
not the dominant of the prevailing key.
The concept of the secondary dominant was not recognized in writings on music
theory prior to 1939. Before this time, in music of Bach, Mozart, Beethoven, and
Brahms, a secondary dominant, along with its chord of resolution, was considered to
be a modulation. Because the effect of modulation was so short, and did not sound
like a real arrival of a new key, the two chords had a special name--"transient
modulation"--that is, a modulation in which the new key is not established. This
description did not truly reflect what was happening in the music so theorists in the
early 1900s, such as Frank Shepard, Benjamin Cutter, and George Wedge, searched
for a better description of the phenomenon.
In 1939, in a manuscript entitled "Principles of Harmonic Analysis," Walter Piston
first used the analysis "V7 of IV." (Notably, Piston's analytical symbol always used
the word "of"--e.g. "V7 of IV" rather than the virgule [slash notation] "V7/IV) In his
1941 "Harmony" Piston used the term "secondary dominant" for the first time. It has
been generally accepted in music theory since then.
Secondary dominant chords momentarily tonicize a note other than the tonic by
functioning as that note's dominant, but don't normally indicate any modulation, and
can occur on any degree of the scale. In addition, in traditional harmony, secondary
dominants can be major triads and do not have to be dominant 7th chords.
Let’s simplify…
For our purpose, a secondary dominant is a dominant 7th chord that is the V7 of a
diatonic chord. (see example below) If it is the V7 of a non-diatonic chord, like
V7/bII or V7/bIII or V7/bVI, it will be referred to as an Extended Dominant.
The secondary dominant terminology is still used even if the chord resolution is
nonfunctional (for example if V7/ii is not followed by ii)
Voice lead Secondary dominants in the key of C
Simple:
An easy way to analyze Harmonic progressions is to use the Simple RN
method. Label the chord exactly what its simple relationship is to the Key
center of the song.
Examples:
1. The chord Eb is the bIII in the key of C major.
2. The chord Db is the bII in the key of C major.
3. F-7 is the IV-7 in the key of C major
Complex:
A more complex analysis can be done if the chord has a higher function.
Examples:
1. D7 is the V7/V in C and is a secondary dominant
2. Bb7 is the V7/bIII in C and is an extended dominant
3. F7 is the V7/bVII in C and is an extended dominant
Analyze:
Simple:
complex:
Do in Class:
Modal Interchange
Let’s take a moment here to further complicate the issue of the harmonic analysis.
In traditional theory any chord that is not diatonic to the key center can be explained
by borrowing it’s analysis from a parallel major or minor mode. The non-diatonic
chord is known as a Borrowed Chord. In contemporary harmony we call the process
Modal Interchange. We do this just for analysis purpose as a way to analyze and
justify non-diatonic chords.
Modal Interchange is a music term that refers to non-diatonic chords that are placed
into a chord progression by being borrowed from other parallel modes. For example,
in a C ionian (major) progression you might have the following chord progression:
Cmaj7, Fmaj7, Cmaj7. The roman numeral analysis of this progression would be I
maj7, IV maj7, I maj7. If you changed the progression to Cmaj7, F-7, the
progression is still in C major, but the F-7 would be a IV minor chord borrowed from
a parallel mode such as Aeolian (Natural minor).
We have just finished a brief study of major diatonic harmony from our last lesson.
Know that any scale type, or mode, can be used to create diatonic harmony and
melody. Any and every mode such as Dorian, Lydian or any synthetic scale has it’s
own diatonic melodic/harmonic structure. The principle is the same. The
harmony/melody is constructed from the notes of the scale.
Minor diatonic harmony is derived from the scales of the natural, harmonic, and
melodic minors and will have different qualities for each chord than that of the major
diatonic harmony.
Below is a comparison of the major, natural minor, harmonic minor and ascending
melodic minor scales and their respective diatonic harmony with Roman Numeral
analysis.
Reasons for using Modal Interchange
Do in class: