Using Secondary Dominant Chords
Previously, we took a look at analyzing a song that used secondary dominant chords to see how to utilize them effectively.
This time we will look at adding secondary dominant chords into progressions we have seen up until this point to rearrange them.
First, lets try adding a secondary dominant chord into the canon chord progression we saw in our 22nd and 23rd articles.
Though the original is in the key of D major, we will be using the key of C major for this analysis.
The image above shows the Roman numeral analysis of the chord progression used in Canon.
We will place scale notes into these Roman numerals to create our progression.
We can follow this chart to apply chords.
In the key of C major, it would be:
We have prepared MIDI as well.
Of course, they can be used in other areas, but we will add in secondary dominant chords into the orange areas for this example.
Lets take a look back at what we have learned thus far.
If Am is considered the Im, the V７(V) would be E7(E).
If F is considered the I, the V７(V) would be C7(C).
If G is considered the I, the V７(V) would be D7(D).
Lets try adding these in.
These are our results.
✳︎The voicings have been arranged.
Lets take a look at the content we have so far, and analyze it.
The chord progression above will be used for comparison with a technique we will learn in a future article as well, so we recommend saving the sequenced MIDI data for later.
Of course, you can change other areas as well.
Though it keeps the original chords found in the Canon progression, it has a strong sense of tension and release, with one chord coming in after the next.
By focusing on the tensions used, you may start to better hear tritones and leading tones moving to a resolution.
We will continue looking at practical uses for these chords in our next article, but we will also focus on how this change opens up new possibilities for our melody lines.