applying secondary supertonics and secondary dominants

Original progression:
C A- D- G
& c ˙˙˙ ˙˙
˙
˙˙˙ ˙˙
˙
?c ˙ ˙
˙ ˙
I vi ii V

Turning vi and ii into secondary dominants:

#9
#9 b
A 7 #5
6
C9 D7 G 7 13
& ˙
˙˙˙ # # ˙˙˙˙ n ˙˙
#˙
b ˙˙
n˙
?œ bœ œ bœ œ #œ œ bœ
I V of ii V of V V

± () A 7(# 9)
Applying secondary supertonics and secondary dominants:
C Bø(sus) E 7 # 9 A -(add9) Eø(sus) D -9 F M9 G 7 b9

œ œ . œ œ œ œ œ . œ œ œœ # œ . œ ˙ . œ ˙ œœœœ
& œ œœ œ #œ. œ œ œ. œ
(phrase sections)

J J J J J w œ
w ˙ w ˙˙ ˙˙ ˙˙
w w ˙ ww b ˙ # # ˙ w b ˙˙˙˙
3

? w ˙
˙˙ ‹ ˙ # ˙ ˙ w
ww ˙˙
3
3

I ii of vi V of vi vi ii of ii V of ii ii IV(=ext. of ii) V7

same, but applying within a sequence:

[ stage 1 of sequence ] [ stage 2 of sequence ]

± E 7(# 9) A 7(# 9) Dø(sus) G 9sus G 7(b5 b9)

(each stage contains a ii-V progression, and the progression
is transposed by an ascending fifth)

C Bø(sus) Eø(sus)
œ. œ œ œœœ ˙ œ œ# œ œ œ . jœ œ œ œ
& œ œœœ J #œ. œ
J bœ
ww ˙ œ œ
w
? w ˙˙˙˙ ‹ # ˙˙˙ b ˙˙˙˙ # # ˙˙ b ˙˙˙˙ n œœœœ b bœœœ
(melody varied via rhythmic alteration)
3
3

I ii of vi V of vi ii of ii V of ii iiø Vsus V7
(resolution to vi supressed, (borrowed from
and E7 chromatically transformed the key of C minor)
to become Eø, as the first chord
of stage 2 of the sequence.)

© 2012 Michael Leibson

http://thinkingmusic.ca