7 p -- 06/25/2004, 01:19:11 -- #5125
a primary dominant takes you directly to the tonic in general.

v7 > i

a secondary dominant takes you to the dominant of the tonic which often then takes you to the tonic.

ii7 > v7 > i

jazz in the twenties and tin pan alley often made use of long strings of secondary dominants, ex:

five foot two

| c | e7   | a7  | a7  | d7  | g7 | c | g7 |
| i | iii7 | vi7 | vi7 | ii7 | v7 | i | v7 |

this circular progression is commonly seen in more modern jazz styles interspersing minor chords and tritone substitutes around the circle.

======================

smg -- 06/27/2004, 10:03:50 -- #5179
continuing re-sd.. ...
there are some good online sources of info about this subject,i'll post some in the next few days.

the sd concept is a way of "setting up" notes in the diatonic scale other than the tonic(the i chord) with the same resolution pattern that exists between the dominant(the v chord) and the tonic.

using letter names-(key of f):

the i chord(f)changed to a sd becomes f7,which resolves to the iv(bb)
the ii chord (gm)changed to a sd becomes g7,which resolves to the v(c)
the iii (am) becomes a7,resolving to the vi(d)
the vi(dm)=d7,resolving to the ii(gm)
the vii(e dim)=e7,resolving to the iii(am)

you'll notice that the iv isn't listed;this is because setting that up as a sd can't be done in the diatonic system(it would resolve to the b7,eb in this example.)using a "jazz harmony" approach to the diatonic scale though,many times the iv chord is set up as a dom.,with the eb functioning as a chord resolving to the tonic or leading to another of the many possible chord options.

if you want to get a jump on this before i get a chance to post the links and find out more about not only sd but harmony/theory in general,take a look at the file called "reference guide"over at 360 degrees,where a lot of the best online sources for jazz-applicable harmony/theory  are listed.

there are a lot of ways to "use" sd;the post above mine gives you an example of using it in a song and this principle can be extended to using it whenever chord relationships exist that can be changed into sd ones;i.e.using the above example,if the e7 was an em originally,you'd be able to do this,similarly with  the a7 if that was on the chord chart for the song as an am.

another important use of this in jazz is to change chord types to ones that will lend themselves more readily to all the things you can do with dom7 using jazz/blues-specific melodic/harmonic material.

to sum it up as simply as possible,the naturally-occurring chord types in the diatonic system(btw although i didn't get into it this also applies to the minor key)changed into dominant chord types to resolve more  strongly in "standard common-practice western harmony"
patterns of chord movement within a key = sd.understanding how the cycle of fifths works and its' application within a key will clarify this stuff.
======================

smg -- 06/28/2004, 06:33:43 -- #5195
sd links
https://www.petethomas.co.uk/jazz-secondary-dominants.html
https://www.musictheory.halifax.ns.ca/26secondarydominants.html
https://www.lovemusiclovedance.com/secondary_dominants.htm
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