Is a secondary dominant always a seventh chord?

Is a Secondary Dominant Always a Seventh Chord?

Introduction

Secondary dominant chords play a significant role in music harmony and are used across various genres. One common question that arises is whether a secondary dominant is always a seventh chord. In this expert article, we will explore the nature of secondary dominant chords and shed light on their characteristics and functions.

Understanding Secondary Dominant Chords

Secondary dominant chords are chords that function as the dominant of a chord other than the tonic. They create temporary tonal centers within a larger key, adding tension, interest, and harmonic variety to a musical composition. Let’s delve deeper into the nature of these chords.

Triads and Seventh Chords

Contrary to popular belief, secondary dominant chords can be both triads and seventh chords. In major keys, both major triads and major-minor seventh chords can function as secondary dominants. The choice between a triad and a seventh chord depends on the desired harmonic color and the specific musical context.

The Role of Raised Notes

In secondary dominant chords, the raised notes typically act as the leading tone to the root of the chord being tonicized. This leading tone effect creates a strong pull towards the resolution and adds tension and anticipation to the harmonic progression.

Major and Minor Modes

In the major mode, secondary dominant chords can be formed using major triads or major-minor seventh chords. It’s worth noting that the only secondary dominant with a lowered chromaticism is the V7/IV chord.

In the minor mode, two types of secondary dominant chords can occur. The first is the vii° chord, which is built on the raised 7th scale degree. However, due to its diminished nature, the vii° chord cannot be tonicized. The second is the VII chord, which is built on the lowered 7th scale degree. The VII chord can be tonicized using the V7/VII progression.

Labeling and Function

The labeling of secondary dominant chords depends on their function and progression within the musical context. For example, an F major chord in the key of C minor can be labeled as V/VII or IV, depending on how it functions or progresses in the composition. The choice of labeling is determined by the desired analysis and interpretation of the chord’s role.

Transitory Passage Chords

It is important to recognize that secondary dominant chords are primarily used as transitory passage chords and do not create an actual key shift. While they create a temporary tonal center and add harmonic tension, the main tonal center of the piece remains unchanged. Secondary dominant chords serve as moments of departure and resolution within the larger musical framework.

Conclusion

In conclusion, a secondary dominant can be either a triad or a seventh chord. The choice depends on the desired harmonic color and musical context. Raised notes in secondary dominant chords serve as leading tones, creating tension and anticipation. The labeling of secondary dominant chords depends on their function and progression. It is crucial to understand that secondary dominant chords are used as transitory passage chords and do not lead to a key shift.

Sources:

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

FAQs

Can a secondary dominant be a triad instead of a seventh chord?

Yes, secondary dominant chords can be both triads and seventh chords. In major keys, major triads and major-minor seventh chords can function as secondary dominants, depending on the desired harmonic color and musical context.

What is the role of raised notes in secondary dominant chords?

Raised notes in secondary dominant chords typically act as the leading tone to the root of the chord being tonicized. They create a strong pull towards the resolution and add tension and anticipation to the harmonic progression.

Are secondary dominant chords different in major and minor modes?

Yes, secondary dominant chords can vary in major and minor modes. In major mode, they can be formed using major triads or major-minor seventh chords. In minor mode, there are two types of secondary dominant chords: the vii° chord built on the raised 7th scale degree and the VII chord built on the lowered 7th scale degree.

Can the vii° chord be tonicized?

No, the vii° chord, being diminished, cannot be tonicized. It functions as a passing chord or a temporary point of tension and does not establish a new tonal center.

How are secondary dominant chords labeled?

The labeling of secondary dominant chords depends on their function and progression within the musical context. For example, an F major chord in the key of C minor can be labeled as V/VII or IV, depending on how it functions or progresses in the composition.

Do secondary dominant chords create a key shift?

No, secondary dominant chords are used as transitory passage chords and do not create an actual key shift. While they create a temporary tonal center and add harmonic tension, the main tonal center of the piece remains unchanged.

Can secondary dominant chords be used in different genres of music?

Yes, secondary dominant chords occur in every genre of music. They are a versatile harmonic tool used to add interest, tension, and variety to compositions across different musical styles.

How important is it to understand secondary dominant chords for musicians and composers?

Understanding secondary dominant chords is crucial for musicians and composers as they provide opportunities for harmonic exploration and create compelling musical progressions. Incorporating secondary dominants can greatly enhance the richness and complexity of a composition.