Secondary chord
A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization.Composers began to use them less frequently with the breakdown of conventional harmony in modern classical music—but secondary dominants are a cornerstone of popular music and jazz in the 20th century.According to music theorists David Beach and Ryan C. McClelland, "[t]he purpose of the secondary dominant is to place emphasis on a chord within the diatonic progression.[7] The major scale contains seven basic chords, which are named with Roman numeral analysis in ascending order.Bach, Mozart, Beethoven, and Brahms, a secondary dominant, along with its chord of resolution, was considered a modulation.[12] At around the same time (1946–48), Arnold Schoenberg created the expression "artificial dominant" to describe the same phenomenon, in his posthumously published book Structural Functions of Harmony.[13] In the fifth edition of Walter Piston's Harmony, a passage from the last movement of Mozart's Piano Sonata K. 283 in G major serves as one illustration of secondary dominants.The final four chords form a circle of fifths progression, ending in a standard dominant-tonic cadence, which concludes the phrase.This is slightly different from the traditional use of the term, where a secondary dominant does not have to be a seventh chord, occur on a weak beat, or resolve downward.Since jazz tunes are often based on the circle of fifths, this creates long sequences of secondary dominants.Quaternary dominants are rarer, but an example is the bridge section of the rhythm changes, which starts from V/V/V/V (in C major, E(7)).In music theory, a secondary leading-tone chord is a secondary chord that is rooted on a tone that is a leading-tone of (in short, has a strong affinity to resolve to) a tone just 1 semitone from that root (typically 1 semitone above, though can be below).
Secondary triadSubsidiary chordMozartFantasia in C minor, K. 475analyticalharmoniccommon practice perioddiatonicfunctionstonicizationalteredborrowed chordminor triadscale degreediminished triadsBaroque periodClassical periodRomantic periodmodern classical musicpopular musicVV (disambiguation)four-part harmonyseventh chordresolvetonicized chordphrasemodulationsnonfunctionalmajor scaleRoman numeral analysisdominantseventh chordsextensionsDominant seventh chordsseventhBeethovenSymphony No. 1F major scaleF majorChromatic mediantsanalysisPiano Sonata No. 10, op. 14, no. 2J.S. BachBrahmsHugo RiemannWalter PistonArnold SchoenbergPiano Sonata K. 283 in G majorcircle of fifthscadencearpeggioI'd Like to Teach the World to Singjazz harmonybebop bluessubstitute dominantsturnaroundsii–V–IBob DylanDon't Think Twice, It's All RightBetty EverettThe Shoop Shoop Song (It's in His Kiss)Five Foot Two, Eyes of BlueSweet Georgia BrownExtended chordI–vi–ii–VturnaroundI–V/V/V–V/V–V–Iresolvestonic chordrhythm changesChopinPolonaises, Op. 26Intermezzo, op. 119Easy Livingmusic theoryrootedleading-tonemodulationdiminished seventhsmajor keysminor keysfour-part writingtritonediminished fifthaugmented fourthragtimesupertonictonicizingsubdominantBarbershop seventh chordBackdoor progressionCircle progressionCommon-tone diminished seventh chordii–V–I progressionSecondary developmentSubtonicdominant ninthvirgulealterationPrentice HallPiston, WalterRusso, WilliamSchoenberg, ArnoldSearle, HumphreyA&C BlackChordsAugmentedDiminishedSuspendedDominant seventh flat fiveHalf-diminishedDiminished majorMinor-majorAugmented majorAugmented minorAltered seventhNondominantHarmonic seventhExtendedEleventhThirteenthUpper structureDominant 7♯9PolychordTone clusterAugmented sixth