Help naming/analyzing sus chord and possible secondary dominant
Naming and Analyzing Suspended (Sus) Chords and Secondary Dominants
Suspended (Sus) chords and secondary dominants are important concepts in music theory and composition. Understanding these chord types can enhance your ability to analyze and create harmonic progressions in various musical styles. In this article, we will explore the characteristics and functions of sus chords and secondary dominants, providing a comprehensive overview of their usage.
Suspended (Sus) Chords
Sus chords, short for suspended chords, are commonly used in popular music. They add a unique and often ambiguous quality to a progression, creating tension and releasing it in a satisfying manner. The two basic sus chords are the sus4 chord and the sus2 chord.
In a sus4 chord, the 3rd of the chord is replaced by a perfect 4th. This results in a chord structure that consists of the root, perfect 4th, and perfect 5th intervals. For example, in the key of C major, a Csus4 chord would consist of the notes C, F, and G.
Similarly, in a sus2 chord, the 3rd of the chord is replaced by a major 2nd. This creates a chord structure with the root, major 2nd, and perfect 5th intervals. Using the key of C major as an example, a Csus2 chord would consist of the notes C, D, and G.
Both sus4 and sus2 chords have a perfect 5th from the root to the fifth. This stable interval helps maintain a sense of tonality within the chord while the suspended 4th or 2nd adds tension and a desire for resolution.
Secondary Dominants
Secondary dominants are chords that function as dominants to a chord other than the tonic. They create temporary tonal centers before resolving to the expected chord. Understanding secondary dominants allows for more complex and interesting harmonic progressions.
Both major triads and major-minor seventh chords can be used as secondary dominant chords. For example, in the key of C major, the dominant chord is G7 (G major or G dominant seventh). By introducing a secondary dominant, such as D7 (D major or D dominant seventh), before the expected G7, we create tension and a stronger resolution to the G7 chord.
Secondary dominants often involve chromaticism, with raised notes acting as leading tones to the root of the chord being tonicized. This chromatic alteration heightens the sense of tension and resolution. In the major mode, the only secondary dominant with a lowered chromaticism is the V7/IV chord. For example, in the key of C major, the V7/IV chord would be F7, which temporarily tonicizes the IV chord (F major).
By utilizing secondary dominants, composers and arrangers can introduce unexpected harmonies and create more colorful and dynamic progressions.
Conclusion
Understanding the characteristics and functions of suspended (Sus) chords and secondary dominants is essential for musicians and composers. Sus chords add tension and release in a unique way, while secondary dominants introduce temporary tonal centers and chromaticism. Incorporating these chord types into your compositions and analyses can enhance the harmonic sophistication and expressive possibilities of your music.
Sources:
- Simple “Sus” Chords
- How Sus Chords Work and When To Play Them
- Secondary Dominants in Major and Minor
FAQs
Frequently Asked Questions About Naming and Analyzing Sus Chords and Secondary Dominants
What are sus chords, and how do they work?
Sus chords, short for suspended chords, are commonly used in popular music. They introduce tension and release within a progression by replacing the 3rd of the chord with either a perfect 4th (sus4 chord) or a major 2nd (sus2 chord).
How do you name a sus chord?
A sus chord is named based on the interval that replaces the 3rd. For example, a sus4 chord would have a perfect 4th interval between the root and the replaced note, while a sus2 chord would have a major 2nd interval.
What is the function of a sus chord in a progression?
Sus chords create tension and a desire for resolution. They add color and ambiguity to a progression and can be used to delay the resolution to a more stable chord, such as a major or minor triad.
What is a secondary dominant?
A secondary dominant is a chord that functions as a dominant to a chord other than the tonic. It creates temporary tonal centers and introduces tension that resolves to the expected chord.
Can both major triads and major-minor seventh chords be used as secondary dominants?
Yes, both major triads and major-minor seventh chords can be used as secondary dominant chords. They provide different levels of color and tension to the progression.
How does chromaticism play a role in secondary dominants?
Secondary dominants often involve chromaticism, where raised notes act as leading tones to the root of the chord being tonicized. This chromatic alteration adds tension and heightens the sense of resolution.
Are there any specific secondary dominants with lowered chromaticism?
In the major mode, the V7/IV chord is a secondary dominant with lowered chromaticism. It temporarily tonicizes the IV chord by introducing a dominant chord with a lowered 7th.
How can understanding sus chords and secondary dominants enhance musical compositions?
Understanding sus chords and secondary dominants allows composers to introduce tension, create more interesting progressions, and add color and complexity to their compositions. These concepts expand the harmonic possibilities and expressive potential of the music.