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Secondary Subdominantsafter learning about secondary dominants,you might wonder if it’s possible to extend theconcept to other chords.
for example, if we can use a dominant function chordfrom a related key, what about a subdominant function
chord from a related key, like IV of V?
well, the answer is yes, and the chords that result are called secondary subdominants.but before we talk about them, you need to understand a few things.
to approach these chords,use any of the basic root
movements.
the most common way to resolvesecondary subdominants is to
the corresponding secondarydominant.
which are awesome.
first of all, the very existence ofthese chords is debatable.
what one theorist might calla secondary subdominant:
another might call ashort modulation.
& œœœœb œœœœ# œœœœ œœœœnV6 Iii°7
VV4
2
V
C:
C:
G:
& œœœœb œœœœ# œœœœ œœœœnV6I6
Iii°7 V4
2
second, the only placewe find chords that
we can call secondarysubdominants is in the
music of thexromantic era.x
Lastly, since these chords are alreadypushing the limits of tonality, composerswould only use secondary subdominants
from closely related keys. Inother words, secondary subdominants
should only be “of IV” and “of V.”
ivIV iv
V
keeping these things in mind, let’s look at the possibilities:what are all the subdominant function chords we’ve encountered?
first, there arethe diatonic triads:
ii IV
next, the diatonicseventh chords:
ii7 IV7
and, lastly, a fewborrowed chords:
ii° ivii°7
so a secondary subdominant canhave any subdominant function
chord above the slash, anda IV or V below the slash.
however, the most commonlyfound secondary subdominantsare those that use the half-
diminished supertonic seventh.
ii°7
IVii°7
VV7
Vii°7
V
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