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45-407: Secondary chords are a type of altered or borrowed chord , chords that are not part of the music piece's key . They are the most common sort of altered chord in tonal music. Secondary chords are referred to by the function they have and the key or chord in which they function. Conventionally, they are written with the notation " function / key ". Thus, the most common secondary chord, the dominant of

90-424: A scale degree other than the tonic , with the dominant of the dominant (written as V/V or V of V) being the most frequently encountered. The chord that the secondary dominant is the dominant of is said to be a temporarily tonicized chord . The secondary dominant is normally, though not always, followed by the tonicized chord. Tonicizations that last longer than a phrase are generally regarded as modulations to

135-443: 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 ). Like the secondary dominant it can be used as tonicization of only one subsequent chord (which will be rooted in the resolution tone), or the music can continue with other chords/notes in

180-489: A 7th chord that contains a raised or lowered fifth and sometimes a lowered 3rd." According to Dan Haerle, "Generally, altered dominants can be divided into three main groups: altered 5th, altered 9th, and altered 5th and 9th." This definition allows three to five options, including the original: Alfred Music gives nine options for altered dominants, the last four of which contain two alterations each: Pianist Noah Baerman writes that "The point of having an altered note in

225-438: A B♭, which isn't included in the main key, as Beethoven's Symphony No. 1 is written in the key of C major. The chord then resolves on the natural IV ( F major ) and in the following bar the V, i.e. G (dominant seventh chord on the C major key), is presented. Chromatic mediants , for example VI is also a secondary dominant of ii (V/ii) and III is V/vi, are distinguished from secondary dominants with context and analysis revealing

270-401: A dominant chord is to build more tension (leading to a correspondingly more powerful resolution )." In jazz, the term altered chord , notated generally as a root, followed by 7alt (e.g. G ), refers to a dominant chord that fits entirely into the altered scale of the root. This means that the chord has the root, major third, minor seventh, and one or more altered tones, but does not have

315-501: A large band with an electric guitar, piano, vibes, and/or a Hammond organ ), because the guitarist might interpret a G chord as containing a ♭ 9 and ♯ 11, whereas the organ player may interpret the same chord as containing a ♯ 9 and a ♭ 13, resulting in every tone from the altered scale at once, likely a far denser and more dissonant harmonic cluster than the composer intended. To deal with this issue, bands with more than one chordal instrument may work out

360-516: A major key, such as C major, composers and songwriters may use a B ♭ major chord, that they "borrow" from the key of C minor (where it is the VII chord). Similarly, in music in a minor key, composers and songwriters often "borrow" chords from the tonic major. For example, pieces in C minor often use F major and G major (IV and V chords), which they "borrow" from C major. More advanced types of altered chords were used by Romantic music era composers in

405-442: A major third, i.e., either triads, sevenths, or ninths, with the fifth chromatically raised or chromatically lowered, are altered chords," while triads with a single altered note are considered, "changes of form [ quality ]," rather than alteration. According to composer Percy Goetschius , "Altered...chords contain one or more tones written with accidentals ( ♯ , ♭ , or ♮ ) and therefore foreign to

450-661: A new key (or new tonic). 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." The secondary-dominant terminology is still usually applied even if the chord resolution is nonfunctional . For example, the V/ii label is still used even if the V/ii chord is not followed by ii. The major scale contains seven basic chords, which are named with Roman numeral analysis in ascending order. Because tonic triads are either major or minor, one would not expect to find diminished chords (either

495-431: A secondary dominant), searched for a better description of the phenomenon. Walter Piston first used the analysis "V of IV" in a monograph entitled Principles of Harmonic Analysis . (Notably, Piston's analytical symbol always used the word "of"—e.g. "V of IV" rather than the virgule V/IV.) In his 1941 book Harmony , Piston used the term "secondary dominant". At around the same time (1946–48), Arnold Schoenberg created

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540-502: A semitone (altered), for example, the augmented seventh chord (7+ or 7+5) featuring a raised fifth (C E G ♯ B ♭ (C : C–E–G ♯ –B ♭ ). The factors most likely to be altered are the fifth, then the ninth, then the thirteenth. In classical music, the raised fifth is more common than the lowered fifth, which in a dominant chord adds Phrygian flavor through the introduction of ♭ [REDACTED] . An altered dominant chord is, "a dominant triad of

585-404: A standard dominant-tonic cadence , which concludes the phrase . In jazz harmony , a secondary dominant is any dominant seventh chord on a weak beat and resolves downward by a perfect fifth. Thus, a chord is a secondary dominant when it functions as the dominant of some harmonic element other than the key's tonic and resolves to that element. This is slightly different from the traditional use of

630-458: Is a secondary dominant seventh chord that resolves down by a fifth to another dominant seventh chord. A series of extended dominant chords continues to resolve downwards by the circle of fifths until it reaches the tonic chord . The most common extended dominant chord is the tertiary dominant , which resolves to a secondary dominant. For example, V/V/V (in C major, A) resolves to V/V (D), which resolves to V (G), which resolves to I. Note that V/V/V

675-641: Is an altered chord. The simplest example of altered chords is the use of borrowed chords , chords borrowed from the parallel key , and the most common is the use of secondary dominants . As Alfred Blatter explains, "An altered chord occurs when one of the standard, functional chords is given another quality by the modification of one or more components of the chord." For example, altered notes may be used as leading tones to emphasize their diatonic neighbors. Contrast this with chord extensions : Whereas chord extension generally involves adding notes that are logically implied, chord alteration involves changing some of

720-418: Is built on the altered scale (C, D ♭ , E ♭ , F ♭ , G ♭ , A ♭ , B ♭ , C), which includes all the alterations shown in the chord elements above: Because they do not have natural fifths, altered dominant (7alt) chords support tritone substitution ( ♭ 5 substitution). Thus, the 7alt chord on a given root can be substituted with the 13 ♯ 11 chord on

765-404: Is on the supertonic scale degree . Rather than tonicizing a degree other than the tonic , as does a secondary dominant, it creates a temporary dominant. Examples include ii/III (F ♯ min., in C major), ii/II (Amin., in F major), ii/V (Emin., in G major), and ii/IV (Bmin., in E major). The secondary subdominant is the subdominant (IV) of the tonicized chord. For example, in G major,

810-462: Is only used when the ninth in a chord is natural. It functions as a minor ninth , creating a major seventh interval with the natural ninth, assuming that the chord is in root position. The notation of a raised fifteenth is a fairly modern addition to Western harmony, and they have been popularized by contemporary musicians like Jacob Collier . Natural fifteenths are never notated as alterations or extensions, as they are enharmonically equivalent to

855-411: Is the same chord as V/ii, but differs in its resolution to a major dominant rather than a minor chord. 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). The example below from Chopin 's Polonaises, Op. 26 , No. 1 (1835) has a quaternary dominant in the second beat (V/ii = V/V/V, V/vi = V/V/V/V). In music theory ,

900-566: The Baroque period and are found more frequently and less conventionally in the Classical period . They are found even more frequently and freely in the Romantic period , but they began to be used less frequently with the breakdown of conventional harmony. The chord progression vii /V–V–I is quite common in ragtime music. The secondary supertonic chord , or secondary second , is a secondary chord that

945-405: The Romantic period . 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. A secondary dominant (also applied dominant , artificial dominant , or borrowed dominant ) is a major triad or dominant seventh chord built and set to resolve to

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990-410: The root of any diminished seventh chord. They may resolve to these major or minor diatonic triads: Especially in four-part writing , the seventh should resolve downwards by step and if possible the lower tritone should resolve appropriately, inwards if a diminished fifth and outwards if an augmented fourth , as the example below shows. Secondary leading-tone chords were not used until

1035-466: The 19th century, such as Chopin , and by jazz composers and improvisers in the 20th and 21st century. For example, the chord progression on the left uses four unaltered chords, while the progression on the right uses an altered IV chord and is an alteration of the previous progression: The A ♭ in the altered chord serves as a leading tone to G, which is the root of the next chord. The object of such foreign tones is: to enlarge and enrich

1080-486: The alt chord voicings beforehand or alternate playing of choruses. The choice of inversion , or the omission of certain tones within the chord (e.g. omitting the root, common in jazz harmony and chord voicings), can lead to many different possible colorings, substitutions, and enharmonic equivalents. Altered chords are ambiguous harmonically, and may play a variety of roles, depending on such factors as voicing, modulation , and voice leading . The altered chord's harmony

1125-838: The chords that are used are dominant chords. For example, in the standard jazz chord progression ii–V–I , which would normally be Dm–G–C in the key of C major, some tunes will use D–G–C. Since jazz tunes are often based on the circle of fifths, this creates long sequences of secondary dominants. Secondary dominants are also used in popular music. Examples include II (V/V) in Bob Dylan 's " Don't Think Twice, It's All Right " and III (V/vi) in Betty Everett 's " The Shoop Shoop Song (It's in His Kiss) ". " Five Foot Two, Eyes of Blue " features chains of secondary dominants. " Sweet Georgia Brown " opens with V/V/V–V/V–V–I. Play An extended dominant chord

1170-401: The distinction. Before the 20th century, in the music of J.S. Bach , Mozart , Beethoven , and Brahms , a secondary dominant, along with its chord of resolution, was considered a modulation. Since this was a rather self-contradictory description, theorists in the early 1900s, such as Hugo Riemann (who used the term "Zwischendominante"—"intermediary dominant", still the usual German term for

1215-415: The dominant of the ii chord, "V of iii" for the dominant of iii, and so on. A shorter notation, used below, is "V/ii", "V/iii", etc. Like most chords, secondary dominants may be seventh chords or chords with other upper extensions . Dominant seventh chords are commonly used as secondary dominants. The notation below shows the same secondary dominants as above but with dominant seventh chords. Note that

1260-437: The dominant, is written "V/V" and read as "five of five" or "the dominant of the dominant". The major or minor triad on any diatonic scale degree may have any secondary function applied to it; secondary functions may even be applied to diminished triads in some special circumstances. Secondary chords were not used until the Baroque period and are found more frequently and freely in the Classical period , even more so in

1305-438: The expression "artificial dominant" to describe the same phenomenon, in his posthumously published book Structural Functions of Harmony . 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. This passage has three secondary dominants. The final four chords form a circle of fifths progression, ending in

1350-406: The key of C major as such because they include notes that are not part of the C major scale. Instead, they are secondary dominants. The notation below shows the secondary-dominant chords for C major. Each chord is accompanied by its standard number in harmonic notation. In this notation, a secondary dominant is usually labeled with the formula "V of ..." (dominant chord of); thus "V of ii" stands for

1395-438: The key of that chord's root for a phrase, or even longer to be considered a modulation to that key. This one-semitone-apart resolution of the secondary leading-tone is in contrast to the secondary dominant which resolves through a wider distance of perfect fifth below or perfect fourth above the chord's root (as per the two distances between dominant and tonic). While the root of a secondary leading-tone chord needs to be

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1440-504: The latter enharmonic to a raised ninth). "Borrowing" of this type appears in music from the Renaissance music era and the Baroque music era (1600–1750)—such as with the use of the Picardy third , in which a piece in a minor key has a final or intermediate cadence in the tonic major chord. "Borrowing" is also common in 20th century popular music and rock music . For example, in music in

1485-434: The leading-tone, the other notes may vary and form with it one of: the triad or one of the diminished sevenths (as in seventh scale degree or leading-tone , not necessarily seventh chord) where the type of the diminished seventh is typically related to the type of tonicized triad: Because of their symmetry, secondary leading-tone diminished seventh chords are also useful for modulation ; all four notes may be considered

1530-436: The natural fifth, ninth, eleventh, or thirteenth. An altered chord typically contains both an altered fifth and an altered ninth. To alter a tone is simply to raise or lower it by a semitone . Altered chords may include both a flattened and sharpened form of the altered fifth or ninth, e.g. A ; however, it is more common to use only one such alteration per tone, e.g. B (which may also be spelled as B ). The raised fifteenth

1575-448: The root a tritone away (e.g., G is the same as D ♭ ). F major F major is a major scale based on F , with the pitches F, G , A , B ♭ , C , D , and E . Its key signature has one flat . Its relative minor is D minor and its parallel minor is F minor . The F major scale is: F major is the home key of the English horn , the basset horn ,

1620-538: The root. For example, a chord that includes a raised fifteenth could look something like G , or if it were written as a polychord, ⁠ A / G ⁠ . In practice, many fake books do not specify all the alterations; the chord is typically just labelled as G , and the alteration of ninths, elevenths, thirteenths, and fifteenths is left to the artistic discretion of the comping musician. The use of chords labeled G can create challenges in jazz ensembles where more than one chordal instrument are playing chords (e.g.,

1665-439: The scale in which they appear, but nevertheless, from their connections and their effect, obviously belonging to the principal key of their phrase ." Richard Franko Goldman argues that, once one accepts, "the variability of the scale," the concept of altered chords becomes unnecessary: "In reality, there is nothing 'altered' about them; they are entirely natural elements of a single key system," and it is, "not necessary," to use

1710-601: The scale or expansion of a [chord] progression by adding extra non-diatonic chords. For example, "A C major scale with an added D ♯ note, for instance, is a chromatically altered scale" while, "one bar of C moving to F in the next bar can be chromatically altered by adding the ii and V of F on the second two beats of bar" one. Techniques include the ii–V–I turnaround , as well as movement by half-step or minor third. The five most common types of altered dominants are: V + , V (both with raised fifths), V , V (both with lowered fifths), and V (with lowered fifth and third,

1755-460: The scale; to confirm the melodic tendency of certain tones...; to contradict the tendency of others...; to convert inactive tones into active [leading tones]...; and to affiliate the keys, by increasing the number of common tones . According to one definition, "when a chord is chromatically altered, and the thirds remain large [major] or small [minor], and is not used in modulation , it is an altered chord." According to another, "all chords...having

1800-462: The supertonic chord is A minor and the IV of ii chord is D major. The other secondary functions are the secondary mediant, the secondary submediant, and the secondary subtonic. Altered chord An altered chord is a chord that replaces one or more notes from the diatonic scale with a neighboring pitch from the chromatic scale . By the broadest definition, any chord with a non-diatonic chord tone

1845-462: The term as each 'altered chord' is, "simply one of the possibilities regularly existing and employed." Dan Haerle argues that only fifths and ninths may be altered, as all other alterations may be interpreted as an unaltered chord tone or, enharmonically, as an altered fifth or ninth (for example, ♯ 1 = ♭ 9 and ♭ 4 = 3). An altered seventh chord is a seventh chord with one, or all, of its factors raised or lowered by

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1890-478: The term, where a secondary dominant does not have to be a seventh chord, occur on a weak beat, or resolve downward. If a non-diatonic dominant chord is used on a strong beat, it is considered an extended dominant . If it doesn't resolve downward, it may be a borrowed chord . Secondary dominants are used in jazz harmony in the bebop blues and other blues progression variations, as are substitute dominants and turnarounds . In some jazz tunes, all or almost all of

1935-407: The triad V/IV is the same as the I triad. When a seventh is added (V/IV), it becomes an altered chord because the seventh is not a diatonic pitch. Beethoven 's Symphony No. 1 begins with a V/IV chord: According to the principles exposed above, in fact, V/IV, which means the C chord, i.e. the dominant seventh chord on the F major scale (C–E–G–B♭), does not represent the tonic because it contains

1980-407: The typical notes. This is usually done on dominant chords , and the four alterations that are commonly used are the ♭ 5, ♯ 5, ♭ 9 and ♯ 9. Using one (or more) of these notes in a resolving dominant chord greatly increases the bite in the chord and therefore the power of the resolution . In jazz harmony , chromatic alteration is either the addition of notes not in

2025-464: The vii in major or the ii in minor) tonicized by a secondary dominant. It would also not make sense for the tonic of the key itself to be tonicized. In the key of C major, the five remaining chords are: Of these chords, the V chord (G major) is said to be the dominant of C major. However, each of the chords from ii to vi also has its own dominant. For example, V (G major) has a D major triad as its dominant. These extra dominant chords are not part of

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