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  • 001 Secuencia de Dominantes Segundarias en Pos de 5

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    Susana Rueda
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    The document contains musical notation for four different sequences of secondary dominants in two forms (a and b) each. Each sequence progresses through the diatonic chords of a key, connecting them with secondary dominant chords (V7/ii, V7/iii, etc.) before resolving back to the tonic chord I. The two forms differ in their ordering and placement of the secondary dominant chords within each sequence.

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    001 Secuencia de dominantes segundarias en Pos de 5

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    The document contains musical notation for four different sequences of secondary dominants in two forms (a and b) each. Each sequence progresses through the diatonic chords of a key, connecting them with secondary dominant chords (V7/ii, V7/iii, etc.) before resolving back to the tonic chord I. The two forms differ in their ordering and placement of the secondary dominant chords within each sequence.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    3 views2 pages

    001 Secuencia de Dominantes Segundarias en Pos de 5

    Uploaded by

    Susana Rueda
    The document contains musical notation for four different sequences of secondary dominants in two forms (a and b) each. Each sequence progresses through the diatonic chords of a key, connecting them with secondary dominant chords (V7/ii, V7/iii, etc.) before resolving back to the tonic chord I. The two forms differ in their ordering and placement of the secondary dominant chords within each sequence.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 2

    Secuencia de dominantes secundarias

    Pos 5a. Forma a:


           
      


          

    
        

    Piano
              
      
    I V7/ii ii V7/iii iii V7/IV IV V7/V V V7 I

    Pos 5a. Forma b:

       
          
    7

       
             
    Pno.
           
        
    I V7/ii ii V7/iii iii V7/IV IV V7/V V V7 I

    Pos 8va. Forma a:

         
                
    13

           
    Pno.
          
        
    I V7/ii ii V7/iii iii V7/IV IV V7/V V V7 I

    Pos 8va. Forma b:

               


          
    19

       
    Pno.
          
        
    I V7/ii ii V7/iii iii V7/IV IV V7/V V V7 I
        
    Pos 3ra. Forma a.
             
     
        
    25

       
    Pno.
            
      
    I V7/ii ii V7/iii iii V7/IV IV V7/V V V7 I

           
    Pos 3ra. Forma b.

          
          
    31

     
    Pno.
          
        
    I V7/ii ii V7/iii iii V7/IV IV V7/V V V7 I

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