Search results
Results from the WOW.Com Content Network
Secondary dominant in "I'd Like to Teach the World to Sing" (1971), mm. 1–8 [16] In jazz harmony, a secondary dominant is any dominant seventh chord on a weak beat [citation needed] 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 ...
The ragtime progression [3] is a chord progression characterized by a chain of secondary dominants following the circle of fifths, named for its popularity in the ragtime genre, despite being much older. [4] Also typical of parlour music, its use originated in classical music and later spread to American folk music. [5]
Secondary dominant: Play ... Common chord (music) Diatonic function; Eleventh chord; Extended chord; Jazz chord; Lead sheet; List of musical intervals; List of pitch ...
That is, the implied seventh chord is a dominant seventh, i.e. a major triad plus the minor seventh, to which the ninth is added: e.g., a C 9 consists of C, E, G, B ♭ and D. C dominant ninth (C 9) would usually be expected to resolve to an F major chord (the implied key, C being the dominant of F).
Pre-dominant harmonies include a wide variety of chords: IV, II, ♭ II, secondary (applied) dominants of the dominant (such as V 7 /V), and the various "augmented-sixth" chords. ... The modern North American adaptation of the function theory retains Riemann’s category of tonic and dominant functions but usually reconceptualizes his ...
The substitute dominant may be used as a pivot chord in modulation. [11] Since it is the dominant chord a tritone away, the substitute dominant may resolve down a fifth, to a tonic chord a tritone away from the previous tonic (for example, in F one may feature a ii–V on C, which with a substitute dominant resolves to G ♭, a distant key from ...
The chord a minor third above, ♭ VII 7, may be substituted for the dominant, and may be preceded by its ii: iv 7. [16] Due to common use the two chords of the backdoor progression (IV 7-♭ VII 7) may be substituted for the dominant chord. [11] In C major the dominant would be G7: GBDF, sharing two common tones with B ♭ 7: B ♭ DFA ♭.
Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or m 7, m 6, m ♭ 6 etc.) but here the major third makes it a secondary dominant leading to ii, i.e. V/ii.