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	Secondary dominant - Wikipedia, the free encyclopedia
		Secondary dominants are a kind of chord used in musical harmony.
		In this notation, a secondary dominant is usually labeled with the formula "V of..."; thus "V of II" stands for the dominant of the II chord, "V of III" for the dominant of III, and so on.
		Secondary dominants are always major chords, not minor;(not true in some cases) thus, the secondary dominant of VI in C major is considered to be E major, not E minor.
	en.wikipedia.org /wiki/Secondary_dominant (781 words)

	Secondary dominant (Site not responding. Last check: 2007-10-22)
		Secondary dominants are a kind of chord used inmusical harmony.
		In this notation, a secondary dominant is usually labeled with the formula "V of..."; thus "V of II" standsfor the dominant of the II chord, "V of III" for the dominant of III, and so on.
		Secondary dominants are virtually always major chords, not minor; thus, the secondary dominant of VI in C major is consideredto be E major, not E minor.
	www.therfcc.org /secondary-dominant-172160.html (638 words)

	Tonality and Harmony: Chord Types (Site not responding. Last check: 2007-10-22)
		Secondary Dominant (7th) of V: is a major triad or a major-minor 7th chord built on scale degree 2 (with scale degree 4 chromatically altered to #4).
		Secondary dominant chords, in general, expand the powerful dominant-tonic relation to other scale degrees which are temporarily tonicized through them.
		Secondary Diminished (7th) of V: is a diminished (7th) chord built on scale degree #4, a half step below the dominant (compare the intervallic relationship with that between the leading tone and the tonic in its diatonic counterpart).
	www.music.indiana.edu /som/theory/t511/chords.html (756 words)

	The Dominant Seventh and Augmented Sixth Discords (Site not responding. Last check: 2007-10-22)
		This chord is spelt 1 - 3 - (5) -
		It is possible for secondary dominants to resolve to non-diatonic chords, and for the secondary tonality of which this dominant is a diatonic chord to be extended.
		The dominant seventh is spelt 1 - 3 - (5) -
	www.andymilne.dial.pipex.com /Discords.shtml (1383 words)

	Unit10_Secondary_Domants (Site not responding. Last check: 2007-10-22)
		Dominant - Tonic relationship is one the most important in the study of harmony.
		The secondary dominant is frequently found between two chords of a common progression.
		Modulations to the dominant are sometimes difficult to determine because of the close relation of tonic to dominant.
	www.jcjc.edu /faculty/finearts/JBrown/MUS1223/Study_Material/Unit10_Secondary_Dominants/Unit10_Secondary_Dominants.html (310 words)

	Seventh chord (Site not responding. Last check: 2007-10-22)
		Called the Dominant Seventh because its intervallic relationships occur naturally in the seventh chord built on the dominant scale degree of a given key, the dominant seventh chord was the first to begin to appear regularly in Western music.
		The dominant seventh chord is useful to composers because of the fact that it is a major chord with a very strong sound, that also includes a tritone between the third and seventh of the chord.
		While the dominant seventh chord is typically built on the fifth (or dominant) degree of a major scale, the minor seventh chord is built on the second, third, or sixth degree.
	www.sciencedaily.com /encyclopedia/seventh_chord (639 words)

	Secondary Dominant Chords-Copyright 2004 Mark Dennis McConnell (Site not responding. Last check: 2007-10-22)
		Secondary Dominant chords are Altered Chords that function as the Dominant to a chord other than the tonic.
		A Secondary Dominant resolves the same way as a Dominant in that the leading tone of the scale (of the lower Roman numeral) resolves up and the seventh of the chord resolves down.
		In minor, Secondary Dominants are typically only found on iv and V (V of iv and V of V).
	www.conarco.org /theorybook/secondarydom.htm (323 words)

	[No title] (Site not responding. Last check: 2007-10-22)
		Secondary chords are the minor chords in the harmonized chord scale.
		V of V means 'dominant of the dominant'.
		Notice that B7 is the dominant of E, E7 is the dominant of A, A7 is the dominant of D and D7 is the dominant of G. Try this: Go through all of the V of V's full circle - starting at E.
	dorianblues.tripod.com /primsecd.htm (410 words)

	Lesson 26: Secondary Dominant Triads
		This is because in a dominant chord, the 3rd of the chord acts as a
		The root of the tonic chord is a fourth above, or a fifth below, the dominant, and that's the chord that the dominant wants to move toward.
		However, by changing it to be a major chord (raising the third), you create a secondary dominant, a chord that even moreso wants to resolve to the iv-chord.
	brebru.com /musicroom/theory/lesson26/secondarydominanttriads.html (1302 words)

	Chapter 13 - Secondary Chords
		Secondary chords usually have dominant function, Chords must be major or minor in quality to be preceded by secondary chords.
		When a secondary dominant progresses to a diatonic seventh chord, the momentary leading tone (third of the chord) may descend by a half step to become the seventh.
		In minor, the secondary dominant seventh must be used so that a chromatic alteration occurs on the mediant chord is usable in all positions; second inversion occurs only in a descending line because it involves the subtonic scale degree.
	www.tpub.com /harmony/37.htm (400 words)

	TonalityGUIDE: Secondary dominant chords (Site not responding. Last check: 2007-10-22)
		This progression from dominant to tonic is generally considered to create a strong pattern of tension-resolution.
		This is why they are called secondary dominants - they behave in the same way as a dominant chord but are not the actual (or primary) dominant of the key.
		One of the most common secondary dominants formed by sharpening the third of chord ii.
	www.tonalityguide.com /xxsecdom.php (190 words)

	Secondary and Extended Dominants
		Secondary and extended dominants are functional dominant seventh chords.
		G# Secondary dominants resolve immediately back into the key of the moment.
		Extended Dominants have another non-diatonic dominant 7th chord as its target.
	www.franksinger.com /Amusic/sec_ext_dom.htm (68 words)

	233secdoms (Site not responding. Last check: 2007-10-22)
		Secondary dominants resolve just like regular dominants (to the newly tonicized I) Often, a variation of a deceptive V()—vi progression is found: V(/ vi—vi
		The leading-tone in the secondary dominant chord moves up to the root of the tonicized chord.
		If the chord of resolution is a seventh chord (a common case), the leading tone of the secondary dominant moves down by half step to become the 7th of the chord of resolution.
	www.sfsu.edu /~music/csg/233/233secdoms.html (239 words)

	Secondary Dominants and Secondary Leading-Tone Chords (Site not responding. Last check: 2007-10-22)
		"Secondary dominants" are chromatic major chords that act as V of some key other than tonic.
		Secondary dominant sevenths are easily identified because of their unique spelling (major triad with a minor seventh).
		Secondary leading-tone triads and sevenths are easily identified because of the unique diminished quality of the triad.
	www.bsu.edu /web/serussell/th102/html/chap15.html (269 words)

	Guitar Tab Universe - Forum -> question about Secondary Dominant (Site not responding. Last check: 2007-10-22)
		A secondary dominant is the dominant chord of another chord in the progression.
		The goal of the secondary dominant is to increase the sense of anticipation towards the next chord, to serve as a transition chord.
		You just use the secondary dominant as a transition to the next chord, whatever it may be.
	www.guitartabs.cc /forum/index.php?showtopic=77002 (303 words)

	Secondary dominants
		The chords that function as a dominant in a key are V, V7, vii°, vii°7, and the half diminished seventh chord.
		Standard practice for indicating a secondary dominant is V/vi (for example), where V indicates the quality and function of the actual chord as it relates to vi.
		In the key of D, V is A. The dominant of A is E, and the secondary dominant chord here is E major.
	www.musictheoryresources.com /members/FA_sec_dom.htm (308 words)

	Scales on secondary dominants (Site not responding. Last check: 2007-10-22)
		F7 to be able to operate as a secondary dominant.
		toneset at 7 to the root of the dominant chord.
		> toneset at 7 to the root of the dominant chord.
	www.musik-news.org /goto/6327/Scales_on_secondary_dominants.html (4248 words)

	Chords and Progressions for Jazz Guitar
		The dominant chord in music is the chord built on the fifth degree of the scale.
		The dominant for the ii chord is called the V of ii.
		The secondary dominant for the ii chord is F# major.
	www.lovemusiclovedance.com /secondary_dominants.htm (1803 words)

	Harmony for the Ears
		The secondary seventh chords used in a cycle of fifths can be chromatically altered so that they become true dominant sevenths in the key of the following chord.
		These chords, which have been chromatically altered to sound like dominant sevenths, are called "secondary dominants".
		) is turned into a secondary dominant by raising the third, and a major seventh chord (e.g.
	www.magma.ca /~lyricom/intro/sequence17.htm (238 words)

	Determining Secondary Dominant Chords
		D# accidental (not diatonic to D maj.) indicates secondary dominant triad.
		B-natural (not diatonic to Eb maj.) indicates secondary dominant chord.
		B-natural and G# (not diatonic to D min.) indicate secondary dominant triad.
	spider.georgetowncollege.edu /music/burnette/MUS112/SecDom.htm (211 words)

	Re: What are Secondary Sevenths?
		Labeling the >subordinate chord as V65/vi as a so-called "secondary dominant" is >ridiculous.
		It >actually is a chord that is subordinate to the Gm triad, which you label >as vi (traditional irrelevant labeling).
		That is, a chord of transient >signficance and should NOT be identified functionally as a secondary >dominant.
	www.talkaboutpeople.com /group/alt.fan.albert-silverman/messages/4113.html (356 words)

	High contribution of biogenic hydroperoxides to secondary organic aerosol formation
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	www.agu.org /pubs/crossref/2004/2003GL019172.shtml (247 words)

	Detailed Analysis of the Air in D Major (Bahamas General Certificate of Secondary Education Music Exam - 2005) (Site not responding. Last check: 2007-10-22)
		The "B Section" begins with the third of the dominant key in violin 1 and the rhythmic figure that was used in the A section in the continuo is continued.
		Measure 8 gives a secondary dominant (beats 1 and 2) of a E major7 chord.
		This is accomplished by going through an E major chord (dominant of A major) and then to an A major chord.
	www.st-andrews.com /Courses/Music/Airparagraph.html (374 words)

	Re: What are Secondary Sevenths?
		So "secondary 7th" could logically mean ii7, iii7, etc. But the terms "secondary dominant" and "secondary dominant 7th" always refer to a dominant (major) triad or dominant type 7th which is chromatic to the given key.
		An example would be C-E-G-Bb in the key of C. In this case, the chord is generally acting as a V7 chord to F, which is the IV chord in the key of C - so it is labeled "V7 of IV".
		Sorry to not give you a straight answer, but you will need to ask the folks talking about Secondary Sevenths which meaning they have in mind.
	www.usenet.com /newsgroups/rec.music.theory/msg01070.html (182 words)

	Secondary Dominants (Site not responding. Last check: 2007-10-22)
		Macro analysis provides the same advantage in locating secondary dominants as it does for finding modulations.
		By analyzing the letter names of the chords it is easier to identify changes in the diatonic harmonies.
		A secondary dominant is like a miniature modulation; for just an instant, the harmony moves out of the diatonic chords of the key.
	www.macromusic.org /tutorials/seconddom.html (83 words)

	iBreatheMusic Forums - Secondary Dominants
		The whole idea about secondary dominants is shifting the 'tonal center', relatively stable area, pretending the next chord is tonic-flavoured.
		There is no secondary dominant for the viio chord because there is no key of B diminished and the I chord already has a dominant chord, G7 in this key.
		Sometimes secondary dominants are quite obvious but in most cases they will appear as a result of reharmonization - after the initial background has been laid.
	www.ibreathemusic.com /forums/archive/index.php/t-6592.html (6049 words)

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