Tip #207 – Two Ways of Resolving Secondary Dominants

Seems a bit silly that we have gone this bar in the blog without mentioning secondary dominants as much as they should be. Nonetheless, they are common in music composition and deserved to be discussed.

A secondary dominant is the V7 of a chord besides I (usually the V7 / V ). The progression would be:

V7/V – V7 – I

And that is one way to resolve it. Simply use it like the nature of the V7 chord and resolve to the chord a P5 below it.

Another way, that is common in jazz, is to have it resolve to the minor version of itself. That progression would be:

V7/V – ii – V7 – I

Both the V7/V and ii have the same function of being the “predominant area” so it makes sense that they can lead into one another.

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Tip #175 – Harmonizing a Chromatic Scale with Secondary Dominants

Once you see the process to doing this, you aren’t going to forget it.

Now, say that you have a diatonic melodic line like the one below with the notes appearing in sequential order:

Between each of the diatonic notes, we are going to approach each with a chromatic note. It should look like this now:

Okay, from here we are going to harmonize the diatonic notes with triads within the key. For the simplicity of this tip, the notes will act as the root of the chords:

Finally, it is time to add the secondary dominants. A secondary dominant is the “V7” chord proceeding before a chord it wants to temporarily tonicize. It just so happens that those chromatic tones are part of the secondary dominants we are going to build:

Our progression is now I – V7/ii – ii – V7/iii – iii , all built on a chromatic line!

Thank you so much for taking the time to read! Feel free to comment, share, and subscribe for more daily tips below! Till next time.