Secondary Dominants: Chords that function as the dominant of a chord other than the tonic in a given key, used to momentarily tonicize a different chord.
Context and Significance
Secondary dominants are pivotal in enriching harmonic progressions by introducing temporary key changes. They are commonly utilized in classical, jazz, and contemporary music to add complexity and tension. By providing a temporary sense of resolution or instability, secondary dominants allow composers and musicians to create more dynamic and engaging musical narratives. This technique is seen in piano compositions, orchestral works, and jazz improvisations, enhancing the listener’s experience through unexpected harmonic shifts.
Historical Background
The concept of secondary dominants has roots in early music theory, becoming prominent during the Classical period. Composers like Mozart and Beethoven frequently employed secondary dominants to add color and interest to their compositions. This practice continued to evolve, becoming a staple in Romantic and modern music, where composers sought greater harmonic exploration. The use of secondary dominants reflects the ongoing development of Western music theory and its application in expanding harmonic vocabulary.
Examples
In Beethoven’s Fifth Symphony, secondary dominants drive the dramatic transitions between movements. Jazz musicians, like Thelonious Monk, often use secondary dominants to craft intricate solos and chord progressions. In contemporary music, pieces like The Beatles’ “Penny Lane” showcase the effective use of secondary dominants to enhance melodic and harmonic storytelling. These examples illustrate how secondary dominants are woven into diverse musical genres to create tension and interest.
Related Terms
Dominant Chord: The fifth scale degree chord that typically resolves to the tonic.
Tonicization: The temporary emphasis of a non-tonic chord as if it were the tonic.
Modulation: A change from one key to another within a composition.
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