Is a secondary dominant always a seventh chord?
Is a Secondary Dominant Always a Seventh Chord?
In music theory, a secondary dominant is a chord that functions as the dominant of a chord other than the tonic in a given key. It adds harmonic tension and creates a temporary shift in tonality. While secondary dominants are often associated with seventh chords, it is important to note that they are not always seventh chords. In this article, we will explore the nature of secondary dominants and clarify their chord qualities.
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Chord Qualities of Secondary Dominants
While many secondary dominants are seventh chords, it is not a strict requirement. Secondary dominants can also be major triads or major-minor seventh chords, depending on the context and the desired harmonic effect.
Chromaticism plays a significant role in secondary dominants, as they often involve chromatic notes that act as leading tones to the root of the chord being tonicized. These chromatic notes create tension and enhance the resolution to the targeted chord.
Secondary Dominants in Major and Minor Modes
In the major mode, the most common secondary dominant with lowered chromaticism is the V7/IV chord. This chord functions as the dominant of the subdominant (IV) chord in the key, providing a temporary shift to the subdominant tonality before resolving back to the tonic.
In the minor mode, there are two primary secondary dominants: the vii° (raised 7) and the VII (lowered 7) chords. Both of these chords can be tonicized using secondary dominants. However, it is important to note that the vii° chord, being diminished, cannot be tonicized effectively due to its inherent instability.
Overall, secondary dominants serve as powerful harmonic tools to create tension, add color, and enhance the resolution in musical compositions. While they are often seventh chords, secondary dominants can take various chord qualities and are not limited to specific harmonic structures.
Sources:
- Music Theory for the 21st-Century Classroom. (Link: source)
- Use Your Ear Blog. (Link: source)
- The Jazz Resource. (Link: source)
FAQs
Is a Secondary Dominant Always a Seventh Chord?
What is a secondary dominant?
A secondary dominant is a chord that functions as the dominant of a chord other than the tonic in a given key. It creates harmonic tension and leads to a temporary shift in tonality.
Are secondary dominants always seventh chords?
No, secondary dominants are not always seventh chords. While they are often associated with seventh chords, they can also be major triads or major-minor seventh chords, depending on the musical context and desired harmonic effect.
How does chromaticism relate to secondary dominants?
Chromaticism plays a significant role in secondary dominants. They often involve chromatic notes that act as leading tones, adding tension and enhancing the resolution to the targeted chord.
Can secondary dominants be used in major and minor modes?
Yes, secondary dominants can be used in both major and minor modes. However, the specific chord qualities and their functions may vary between the two modes.
What is the primary secondary dominant in the major mode?
In the major mode, the most common secondary dominant with lowered chromaticism is the V7/IV chord. It functions as the dominant of the subdominant (IV) chord in the key.
What are the primary secondary dominants in the minor mode?
In the minor mode, there are two primary secondary dominants: the vii° (raised 7) and the VII (lowered 7) chords. These chords can be tonicized using secondary dominants, although the vii° chord, being diminished, is inherently unstable and not as effectively tonicized.
How do secondary dominants enhance musical compositions?
Secondary dominants serve as powerful harmonic tools, adding tension and color to musical compositions. They create temporary tonal shifts and enhance the resolution of chords, enriching the overall musical experience.
Are there any limitations or specific rules for using secondary dominants?
While secondary dominants offer flexibility and creative possibilities, it is important to use them judiciously and in a way that serves the musical context. Care should be taken to ensure that the harmonic progression remains coherent and effectively resolves to the desired tonal center.