13-1  STRUCTURE AND ANALYSIS

1. Structure

a. Any Major or minor chord can be preceded by its secondary dominant chord. In the key of C Major, the supertonic chord (D minor) can be preceded by its secondary dominant chord (a Major chord built on A). Figure 13-1 shows the dominant of the supertonic chord.

Figure 13-1. Secondary Dominant Chord

NOTE: The symbol V/ii is used throughout this lesson to represent the dominant of the supertonic chord Roman numeral analysis.

b. The secondary dominant chord must be a Major chord or a dominant seventh chord. In the key of C Major, the diatonic chord built on A is a minor submediant (vi) chord (measure one, Figure 13-2). Since the secondary dominant chord must be Major, the third of the chord (C) is altered (raised) by one half step (to C#) (measure two, Figure 13-2).

Figure 13-2. Altered Diatonic Chord

2. Function.

a. The secondary dominant chord functions as a temporary dominant chord to a temporary tonic. The altered third of the secondary dominant chord acts as a leading tone that contributes to the dominant function. In the key of C Major, the dominant of the supertonic chord is an A Major chord. The temporary tonic (or chord of resolution) is the supertonic chord (D minor). Figure 13-3 shows the dominant to tonic relationship between the secondary dominant chord and its chord of resolution.

Figure 13-3. Temporary Chord Function

b. The secondary dominant chord has a root movement to its chord of resolution of a descending perfect fifth (Figure 13-4).

Figure 13-4. Root Movement Relationship

3. Analysis.

There are several different systems of Roman numeral analysis. Figure 13-5 shows the various ways of notating the secondary dominant chord. The secondary dominant chord shown is the dominant of the supertonic chord in the key of C Major.

Figure 13-5. Analysis of Secondary Dominant Chords

NOTE: Remember, the symbol V/ii is used throughout this course to represent the dominant of the supertonic chord Roman numeral analysis.

a. Figured Bass. When a chord is altered to become a secondary dominant chord, the notes that have been altered are shown in the figured bass. The first measure of Figure 13-6 shows the figured bass of a minor submediant (vi) chord in the key of C Major that has been altered to become a secondary dominant (V/ii) chord. The second measure of Figure 13-6 shows the figured bass of a major (VI) chord in C minor that has been altered to become a secondary dominant (V/ii) chord.

Figure 13-6. Secondary Dominant Chord Figured Bass

b. Complete Analysis. Complete analysis includes both the Roman numeral and the figured bass and shows any inversions that are used (Figure 13-7).

Figure 13-7. Secondary Dominant Chord Complete Analysis

NOTE: For the purpose of this course, simplify secondary dominant chord symbols by representing these chords in root position only.

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