Is a secondary dominant always a seventh chord?

Is a Secondary Dominant Always a Seventh Chord?

Secondary dominant chords play a significant role in harmonic progressions across various genres of music. Understanding their function is crucial for musicians and composers alike. One common question that arises is whether a secondary dominant is always a seventh chord. In this article, we will explore the nature of secondary dominant chords and shed light on their chordal structure.

To gather accurate information, we’ll refer to reputable sources such as “Secondary Dominants in Major and Minor” from Puget Sound University’s Music Theory website [1], the blog post “What Are Secondary Dominants and How to Use Them” by Use Your Ear Blog [2], and the resource “Secondary Dominant Chords” from The Jazz Resource [3]. These sources provide valuable insights into the concept of secondary dominants and their chordal characteristics.

Defining Secondary Dominant Chords

Secondary dominant chords serve as a means to create tension and establish harmonic movement within a musical composition. They are chords that temporarily borrow the dominant function of a diatonic chord in a given key, leading to a chord other than the tonic. While secondary dominants can be both triads and seventh chords, we will primarily focus on their chordal structure in this article.

Chordal Structure of Secondary Dominants

According to the sources [1][2][3], secondary dominant chords can be expressed as both triads and seventh chords. In major keys, it is common to encounter secondary dominant triads and major-minor seventh chords. These chords enhance the harmonic tension and facilitate smooth progressions within the key.

Similarly, in minor keys, secondary dominant triads and major-minor seventh chords can be employed. The raised notes found in these chords usually function as the leading tone to the root of the chord being tonicized, creating a strong sense of resolution.

Specific Examples in Major and Minor Modes

Let’s examine some specific examples of secondary dominant chords in major and minor modes:

In the major mode, one notable secondary dominant with a lowered chromaticism is the V7/IV chord. This chord, represented by a C7 in the key of C major, functions as the secondary dominant of the subdominant IV chord (F major). It introduces tension and prepares the listener for the resolution to the IV chord.

In the minor mode, the subtonic VII chord can be tonicized using the V7/VII chord. This secondary dominant chord, such as A7 in the key of A minor, serves as a temporary dominant leading to the subtonic VII chord (G major). However, it’s important to note that the diminished vii° chord cannot be tonicized in the same manner.

Conclusion

In conclusion, secondary dominant chords can manifest as both triads and seventh chords. Their chordal structure varies depending on the musical context and the key in which they are used. In major keys, secondary dominant triads and major-minor seventh chords are prevalent, while in minor keys, similar chordal structures can be employed for harmonic progression. The raised notes in secondary dominant chords typically act as leading tones, intensifying the resolution to the targeted chord.

By referencing authoritative sources [1][2][3], we have gained valuable insights into the nature of secondary dominants and their chordal characteristics. Musicians and composers can use this knowledge to further their understanding and creative application of secondary dominant chords in their musical compositions.

Sources:

“Secondary Dominants in Major and Minor” from Puget Sound University’s Music Theory website. Available at: https://musictheory.pugetsound.edu/mt21c/SecondaryDominantsInMajorAndMinor.html
“What Are Secondary Dominants and How to Use Them” by Use Your Ear Blog. Available at: https://www.useyourear.com/blog/what-are-secondary-dominants-and-how-to-use-them
“Secondary Dominant Chords” from The Jazz Resource. Available at: https://www.thejazzresource.com/secondary_dominant_chords.html

FAQs

What is a secondary dominant chord?

A secondary dominant chord is a chord that temporarily borrows the dominant function of a diatonic chord in a given key, leading to a chord other than the tonic. It creates tension and enhances harmonic movement within a musical composition.

Can a secondary dominant chord be a triad?

Yes, secondary dominant chords can be expressed as both triads and seventh chords. In major and minor keys, they can take the form of triads or major-minor seventh chords, depending on the musical context.

Are secondary dominant chords commonly used in major keys?

Yes, in major keys, secondary dominant triads and major-minor seventh chords are frequently used to introduce tension and facilitate smooth progressions within the key.

Are secondary dominant chords used in minor keys as well?

Yes, secondary dominant triads and major-minor seventh chords can also be employed in minor keys. They contribute to the harmonic tension and resolution, similar to their usage in major keys.

How do the raised notes in secondary dominant chords function?

The raised notes in secondary dominant chords generally act as the leading tone to the root of the chord being tonicized. They create a strong sense of resolution and intensify the harmonic progression.

Are there any exceptions to the chordal structure of secondary dominants in major mode?

In the major mode, the only secondary dominant with a lowered chromaticism is the V7/IV chord. This chord functions as the secondary dominant of the subdominant IV chord and adds tension before resolving to IV.

Can the subtonic VII chord be tonicized using a secondary dominant chord in the minor mode?

Yes, the subtonic VII chord in the minor mode can be tonicized using a secondary dominant chord known as V7/VII. It leads to the subtonic VII chord and contributes to the harmonic progression.

Can the diminished vii° chord be tonicized using a secondary dominant chord?

No, the diminished vii° chord cannot be tonicized using a secondary dominant chord. It does not follow the same harmonic function as the other chords and does not resolve in the same manner.