Post by Paul on Apr 15, 2006 16:28:13 GMT -5
Hey All,
I recently read an article on Wikipedia about secondary dominants and thought I'd start a thread on them. I had'nt even heard of them before but it turns out they are simple to understand and very useful (e.g. to change key).
Here is the basic idea (you can also read the wikipedia article for a larger overview and an example usage by Mozart). In a perfect cadence the chord progression V7-I is used (dominant seventh to root). The V7 'pulls' strongly to the root chord and creates a sense of 'ending' a musical phrase. A secondary dominant uses a dominant seventh chord on a chord that is not the V chord. This can then be resolved to a non-root chord.
For example, in the key of C major, we have the chords:
C dm em F G am bdim (where capitals denote major).
In a standard perfect cadence the chords G7-C will be used (e.g. try the progression C-F-G7-C). But using the idea of a secondary dominant we can use a dominant seventh of some other note. Take the ii chord for example. The FIFTH of the ii chord is the sixth ('a minor'). Now, since dominant sevenths generally use a major chord we play A7-dm which creates a similar 'pulling' sound to the perfect cadence. Now we can add whatever we want - for example A7-dm-G7-C or VI7-ii-V7-I.
How does this relate to changing keys(modulation)? Well the idea is to use a secondary dominant to the I chord of the new key. Ideally, the two keys will have a chord in common. This is called a pivot chord. We use the pivot chord - then the secondary dominant of the new key center - then the tonic of the new key. Then we carry on with any standard progression in the new key.
This sounds complicated but is pretty simple. The pivot chord creates an ambiguity since it is in both keys. Then the "secondary dominant to root of the new key" means we firmly establish a new key center.
I was looking into this a couple of weeks ago and have found it pretty useful. Hopefully someone else will too
. You don't only have to use it to change keys, it sounds good when used in a standard progression or in an arpeggio.
Post any comments/questions or examples of where Yngwie uses this if anyone knows
I recently read an article on Wikipedia about secondary dominants and thought I'd start a thread on them. I had'nt even heard of them before but it turns out they are simple to understand and very useful (e.g. to change key).
Here is the basic idea (you can also read the wikipedia article for a larger overview and an example usage by Mozart). In a perfect cadence the chord progression V7-I is used (dominant seventh to root). The V7 'pulls' strongly to the root chord and creates a sense of 'ending' a musical phrase. A secondary dominant uses a dominant seventh chord on a chord that is not the V chord. This can then be resolved to a non-root chord.
For example, in the key of C major, we have the chords:
C dm em F G am bdim (where capitals denote major).
In a standard perfect cadence the chords G7-C will be used (e.g. try the progression C-F-G7-C). But using the idea of a secondary dominant we can use a dominant seventh of some other note. Take the ii chord for example. The FIFTH of the ii chord is the sixth ('a minor'). Now, since dominant sevenths generally use a major chord we play A7-dm which creates a similar 'pulling' sound to the perfect cadence. Now we can add whatever we want - for example A7-dm-G7-C or VI7-ii-V7-I.
How does this relate to changing keys(modulation)? Well the idea is to use a secondary dominant to the I chord of the new key. Ideally, the two keys will have a chord in common. This is called a pivot chord. We use the pivot chord - then the secondary dominant of the new key center - then the tonic of the new key. Then we carry on with any standard progression in the new key.
This sounds complicated but is pretty simple. The pivot chord creates an ambiguity since it is in both keys. Then the "secondary dominant to root of the new key" means we firmly establish a new key center.
I was looking into this a couple of weeks ago and have found it pretty useful. Hopefully someone else will too
. You don't only have to use it to change keys, it sounds good when used in a standard progression or in an arpeggio.Post any comments/questions or examples of where Yngwie uses this if anyone knows
