Harmonic Analysis - Partial Diatonic

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LessonSERIES : Harmonic Analysis for Scale and Chord Selection Series Home

Introduction Basic Concepts Six Harmonic Principles Full Diatonic Partial Diatonic Internal Modulation Unresolved Chromatic Cycles Scale Selection Chord Substitution Common Progressions Common Harmonic Sequences Major and Minor Sale Charts Mode Charts Worksheets Conclusion

Download the PDF file to explore the Partial Diatonic Major & Minor chord progressions in various keys using the .

Secondary Dominants

V of …

A common function of a partial diatonic chord in Tonic-Dominant harmony is to act as a Secondary Dominant, a linking chord.

A Secondary Dominant chord is defined as any seventh chord built on a scale root that resolves up a perfect fourth (P4) or down a perfect fifth (P5) to a Full Diatonic chord. These chords function as a dominant V chord to the next chord, serving to temporarily tonicize the following chord having it act as a I chord. For any secondary dominant chord its II chord can also precede it. Secondary Dominant chords fall under the Partial Diatonic harmonic principle and are labeled as such.

Here are the possible Secondary Dominant chords as defined by the above definition for both Major and Minor tonalities.

VI7 → V of II

NOTE: Major only, Minor does not fit our definition as Ab7 would resolve to D♭maj7 which is not a Full Diatonic chord in the key of Cm.

VI7 → V of III

NOTE: Major only, Minor does not fit our definition as B7 would resolve to Emaj7 which is not a Full Diatonic chord in the key of Cm.

VI7 → V of IV

NOTE: Major and Minor Tonalities

VI7 → V of V

NOTE: Major and Minor Tonalities

VI7 → V of VI

NOTE: Major and Minor Tonalities

The I7 , II7 , III7 are possible in BOTH major and minor tonalities. The VI7 and VII7 are possible in major tonalities only.

Chained Secondary Dominant Cycles

When several Secondary Dominant chords are used in a row and resolve up a fourth or down a fifth to a seventh chord, this is called a chained secondary dominant cycle or sequential dominants. Functioning as a dominant of a dominant V of… .

Chained Secondary Dominant Cycle

These Secondary Dominant chords can be preceded by there II chords.

Chained Secondary Dominant Cycle with Their II Chords

For scale selection treat these Chained Secondary Dominant chords as series of Unresolved V chords or unresolved II V chords.

Chained Secondary Dominant Cycles Examples

I Got Rhythm (Bridge)

Scrapple the Apple (I Got Rhythm Changes Bridge)

Jordu

Contains two Secondary Dominant cycles in the bridge.

Stompin' at the Savoy

Contains a Secondary Dominant cycle in the bridge starting on the IV7 chord.

Diminished Chords?

°7 vs. 7♭9

Some diminished chords are actually functioning as Disguised Secondary Dominant chords. So…

Q. When is a Diminished Chord NOT a Diminished Chord?

To determine if a diminished chord is functioning as a Disguised Secondary Dominant write out all four notes of the diminished chord: C Eb Gb Bbb (A) .

Drop each note 1/2 step and make each a root of a 7th chord:

C7 , Eb7 , Gb7 , A7

If the next chord is a major 7 or minor 7 chord, which if it was a I chord and the preceding chord could be its V chord. Then the diminished chord is really a 7 flat 9 chord — A Disguised Secondary Dominant. This is a common notational practice to insure that a specific chord tone is played as the lowest note of the chord voicing. Slash chord notation could and should have been used.

Examples in the Key of C

Song Examples

Jazz Classics

{{-- The Lydian Progression: I II IV V (II is major not minor), Eight Days a Week Ragtime Progressions (SD Cycle) I VI7 II7 V7 %>