Secondary dominants

Definition

Secondary dominants are chords that act as temporary dominant chords leading to diatonic chords other than the tonic in a key. They create a sense of tension and resolution by establishing a brief dominance over a non-tonic chord, which enhances harmonic movement and adds color to the progression. In jazz, particularly in bebop, secondary dominants are used extensively to introduce chromaticism and unexpected harmonic shifts, enriching the overall musical texture.

5 Must Know Facts For Your Next Test

1. In a progression, a secondary dominant is typically notated as V/x, where 'x' represents the diatonic chord being targeted (for example, V/ii targets the ii chord).
2. Secondary dominants add chromaticism and complexity to harmony, which is a hallmark of bebop music, allowing musicians to create more intricate solos.
3. They can create smooth transitions between chords, often leading to more elaborate and unexpected progressions that enhance the listener's experience.
4. Bebop composers often used secondary dominants to push the boundaries of traditional harmony, making their music feel fresh and innovative.
5. When improvising over secondary dominants, musicians commonly use altered scales to match the increased tension and release created by these chords.

Review Questions

• How do secondary dominants function within a chord progression, particularly in the context of bebop?
  • Secondary dominants function by temporarily introducing a dominant chord that leads to a diatonic chord other than the tonic. In bebop, these chords are used to create tension before resolving to their target chords. This technique enhances harmonic richness and allows for more expressive improvisation, contributing to the unique sound that defines bebop.
• Discuss the role of tonicization in relation to secondary dominants and how it influences bebop compositions.
  • Tonicization plays a crucial role in how secondary dominants function by establishing a non-tonic chord as if it were the tonic for a moment. This gives composers and improvisers in bebop more freedom to explore various harmonic colors and textures. The use of tonicization through secondary dominants adds depth to compositions, allowing for surprising shifts that keep listeners engaged.
• Evaluate how the use of secondary dominants in bebop contrasts with their use in earlier jazz styles and what this reveals about evolving musical techniques.
  • The use of secondary dominants in bebop showcases a significant evolution from earlier jazz styles that often adhered more strictly to diatonic harmony. Bebop musicians embraced chromaticism and complex harmonic structures, utilizing secondary dominants to create sophisticated progressions and enhance improvisation. This shift reflects broader trends in jazz towards innovation and artistic expression, demonstrating how musicians sought to challenge traditional forms and expand the language of jazz.

Related terms

Diatonic Harmony: A system of harmony based on the notes of a specific scale, where chords are built from the scale degrees of that key.

Tonicization: The process of temporarily establishing a chord as the tonic through the use of its dominant chord, often achieved through secondary dominants.

Circle of Fifths: A visual representation of the relationships between the twelve tones of the chromatic scale, used to understand key signatures and chord progressions.