Considering that beyond understanding what secondary dominant chords are, we ought to have them on our fingertips, we’ll be going deeper into today’s post by looking at two easier approaches to determining the secondary dominant of a scale degree chord.<\/p>\n
You may want to know more about secondary dominant<\/a> chords before we proceed.<\/p>\n The term dominant refers to the “fifth degree” of a major scale.<\/p>\n Chords built on the fifth degree or chord 5 (aka – “dominant [seventh] chords”) are the strongest chords in terms of resolution to chord 1 and this is because of a variety of reasons we can’t delve into right now.<\/p>\n By the way, considering that the end of a song has to have a sense of finality, most songs end by a chord progression from chord 5 to chord 1. This happens a lot of the time because there’s no better way to give a sense of finality outside the use of chord 5 (aka – “the dominant seventh chord”) to chord 1.<\/p>\n The concept of secondary dominant chords bothers on imitating this chord 5 to chord 1 relationship.<\/p>\n The same way the chord of the fifth degree (the dominant chord) resolves to chord 1, secondary dominant chords have their fifth relationship<\/em> respectively with other scale degrees.<\/p>\n Take a look at these illustrations…<\/p>\n The second tone of key C major: Although we’re not in the key of D, however, the concept of secondary dominant has to do with imitating (or reproducing) the chord 5 to chord 1 (aka – “fifth”) relationship in the second tone of the scale. To do this, we’ll be using a chord formed on the dominant or fifth degree of the D major scale to resolve to chord 2.<\/p>\n To learn more about dominant seventh chords, check out this post on an in-depth study of the dominant seventh chord<\/span>.<\/p>\n In a nutshell, secondary dominant chords are passing chords<\/a> that take us to scale degree chords<\/a>. These passing chords are a perfect fifth above the root of their respective scale degree chords.<\/p>\n In sync with their respective functions, secondary dominant seventh chords are named in respect to the scale degree chord they resolve to…<\/p>\n The secondary dominant of chord 2 is known as five of chord 2<\/em>.<\/p>\n The secondary dominant of chord 6 is known as five of chord 6<\/em>.<\/p>\n Further reading: Passing Chords 101: Introduction to Secondary Dominant Chords<\/a>.<\/p>\n Beyond this point, I’ll assume that you’re already acquainted with the concept of secondary dominant chords. If you think my assumption is wrong, then I suggest you follow the reading suggestion.<\/p>\n Beyond the challenges of the knowing secondary dominant chords lies the challenge of knowing the secondary dominant chord of all scale degrees in all twelve keys.<\/p>\n In this segment, we’ll be exploring two techniques that can help anyone learn the secondary dominant of any given scale degree.<\/p>\n You can determine the secondary dominant of a given scale degree if you know the major or minor triad of that scale degree.<\/p>\n This is simple and practical. Here’s a background knowledge on this technique…<\/p>\n The triad consists of a root, third, and fifth tone. The C major triad: The fifth tone of the C major triad is G: Right?<\/p>\n Now we’ve determined that the dominant of C is G, we’ll go ahead and form a dominant seventh chord in the key of G – the G dominant seventh chord: So, feel free to use either the major or minor triad to determine the secondary dominant of any scale degree.<\/p>\n In a nutshell, using the C major triad: In the key of C: In the key of Eb: “How Do I Know The Secondary Dominant Of D Scale Degree Chords?”<\/em><\/strong><\/p>\n The same thing is obtainable for D scale degree triads.<\/p>\n The D major: Therefore, it doesn’t matter the key we’re in, provided that D is a scale degree chord, we can use the A dominant seventh chord as a passing chord to the D scale degree chord. I’m sure you know how we got the A dominant seventh chord.<\/p>\n In the key of C: In the key of Bb: The same thing is obtainable for other scale degree triads…<\/p>\n E scale degree chords<\/strong><\/p>\n The E major triad: Still in the key of C: F scale degree chords<\/strong><\/p>\n The F major triad: In the key of C: G scale degree chords<\/strong><\/p>\n The G major triad: In the key of C: A scale degree chords<\/strong><\/p>\n The A major triad: In the key of C: B scale degree chords<\/strong><\/p>\n The B major triad: In the key of C: We can hardly conclude discussions on subjects like this without bringing the circle of fifths and fourths chart: In this chart, notes are arranged in fifths in such a way that the chord 1 and chord 5 relationship is seen between two adjacent sectors in this circle in a clock-wise direction<\/em>.<\/p>\n For example, G by virtue of its adjacent position to C in the clockwise direction (at the 1 o’clock position) is the secondary dominant of C.<\/p>\n It’s that simple – it doesn’t get any easier than that! Here are practical questions this technique can help you answer.<\/p>\n “What’s the secondary dominant of a D scale degree triad?”<\/em><\/p>\n Answer:<\/strong> In the clockwise direction, A is adjacent to D. Therefore the A dominant seventh chord is the secondary dominant of all D scale degree triads.<\/p>\n “What’s the secondary dominant of an Ab scale degree triad?”<\/em><\/p>\n Answer:<\/strong> In the clockwise direction, Eb is adjacent to Ab. Therefore the Eb dominant seventh chord is the secondary dominant of all Ab scale degree triads.<\/p>\n Now that we’ve covered the techniques, let’s look at an easy way to form secondary dominant seventh chords.<\/p>\n All secondary dominant chords are basically dominant seventh chords<\/a>. There is no chord quality known as the secondary dominant<\/em>.<\/p>\n There are so many ways to form the dominant seventh chord and we’ve covered a few of them in a previous lesson<\/a>. But before we end this lesson, let’s look at one easy way to form secondary dominant chords (which are dominant seventh chords in actuality.)<\/p>\n Using any known major triad, you can form the dominant seventh chord using these three simple steps…<\/p>\nReview Of Secondary Dominant Chords<\/h2>\n
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\n…is D:
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\n…and music scholars refer to scale degree chords that are formed on this tone as chord 2<\/em>.<\/p>\n“How Do I Know The Secondary Dominant Of A Given Scale Degree?”<\/em><\/h2>\n
Technique #1 – Using Major or Minor Triads<\/h3>\n
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\n…has C:
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\n…as its root, E:
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\n…as its third, and G:
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\n…as its fifth.<\/p>\n
\n
\n…and that’s pretty much the dominant we’re looking for.<\/p>\n
\n
\nThe same thing is obtainable using the C minor triad:
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\n…and this is because G is equally its fifth tone.<\/p>\n
\n
\n…(or minor triad), you can determine the secondary dominant of any C scale degree chord irrespective of the key. Check out these two examples…<\/p>\n
\n
\n…where C is the first tone, and the C major ninth chord:
\n
\n…is chord 1, the secondary dominant chord would be the G dominant seventh chord:
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\n…which is functioning as five of chord 1 <\/em>in the key of C.<\/em><\/p>\n
\n
\n…where C is the sixth tone, and the C minor ninth chord:
\n
\n…is chord 6, the secondary dominant would still be the G dominant seventh chord:
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\n…which is functioning as five of chord 2 <\/em>in the key of Bb.<\/em><\/p>\n
\n
\n…and D minor triads:
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\n…have the A note:
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\n…as their fifth tone respectively. That means that A is the secondary dominant of the D scale degree chords.<\/p>\n
\n
\n…where D is the second tone, and the D minor seventh chord:
\n
\n…is chord 2, the secondary dominant would be the A dominant seventh chord:
\n
\n…which is functioning as five of chord 2 <\/em>in the key of C.<\/em><\/p>\n
\n
\n…where D is the third tone, and the D minor seventh chord:
\n
\n…is chord 3, the secondary dominant would still be the A dominant seventh chord:
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\n…which is functioning as five of chord 3 <\/em>in the key of Bb.<\/em><\/p>\n
\n
\n…has B as its fifth, therefore the B dominant seventh chord:
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\n…is the secondary dominant chord of all E scale degree chords.<\/p>\n
\n
\n…where E is the third tone, and the E minor seventh chord:
\n
\n…is chord 3, the secondary dominant would be the B dominant seventh chord:
\n
\n…which is functioning as five of chord 3 <\/em>in the key of C.<\/em><\/p>\n
\n
\n…has C as its fifth, therefore the C dominant seventh chord:
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\n…is the secondary dominant chord of all F scale degree chords.<\/p>\n
\n
\n…where F is the fourth tone, and the F major seventh chord:
\n
\n…is chord 4, the secondary dominant would be the C dominant seventh chord:
\n
\n…which is functioning as five of chord 4 <\/em>in the key of C.<\/em><\/p>\n
\n
\n…has D as its fifth, therefore the D dominant seventh chord:
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\n…is the secondary dominant chord of all G scale degree chords.<\/p>\n
\n
\n…where G is the fifth tone, and the G dominant seventh chord:
\n
\n…is chord 5, the secondary dominant would be the D dominant seventh chord:
\n
\n…which is functioning as five of chord 5 <\/em>in the key of C.<\/em><\/p>\n
\n
\n…has E as its fifth, therefore the E dominant seventh chord:
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\n…is the secondary dominant chord of all A scale degree chords.<\/p>\n
\n
\n…where A is the sixth tone, and the A minor seventh chord:
\n
\n…is chord 6, the secondary dominant would be the E dominant seventh chord:
\n
\n…which is functioning as five of chord 6 <\/em>in the key of C.<\/em><\/p>\n
\n
\n…has F# as its fifth, therefore the F# dominant seventh chord:
\n
\n…is the secondary dominant chord of all B scale degree chords.<\/p>\n
\n
\n…where B is the seventh tone, and the B half-diminished seventh chord:
\n
\n…is chord 7, the secondary dominant would be the F# dominant seventh chord:
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\n…which is functioning as five of chord 7 <\/em>in the key of C.<\/em><\/p>\nTechnique #2 – Using The Musical Clock<\/h3>\n
![\"circleoffiths1\"](\"https:\/\/www.hearandplay.com\/main\/wp-content\/uploads\/2015\/03\/circleoffiths1.png\")
…into the picture.<\/p>\nFormation of Secondary Dominant Chords<\/h2>\n