proper use of secondary dominant

People often ask when they should use secondary dominants in their music. The short answer is this: when it sounds good. But let's talk a little more about it. Here is the simple rule: any time you play a minor 7th, you can change it to a secondary dominant by raising the third of the chord a half step.

1. How do you use secondary dominant?
2. What is the purpose of a secondary dominant?
3. How do you resolve a secondary dominant chord?
4. Is a secondary dominant a borrowed chord?

How do you use secondary dominant?

Secondary dominants are often used to anticipate the natural dominant of the song. For example, in the previous case, the natural dominant of the song was G7, so we could play another dominant before it to prepare going into G. Observe: G's dominant is D7.

What is the purpose of a secondary dominant?

McClelland, "[t]he purpose of the secondary dominant is to place emphasis on a chord within the diatonic progression." The secondary-dominant terminology is still usually applied even if the chord resolution is nonfunctional. For example, the V/ii label is still used even if the V/ii chord is not followed by ii.

How do you resolve a secondary dominant chord?

Writing Secondary Dominants

1. Find the the root of the chord after the secondary dominant (the Roman numeral under the slash). It is a major or minor triad.
2. Find the pitch a P5 above the root. ...
3. Build a dominant seventh chord or major triad on this pitch. ...
4. Resolve the chordal 7th (down) and the secondary leading-tone (up).

Is a secondary dominant a borrowed chord?

In a nutshell, a secondary dominant chord is borrowed from another key. So when you see a secondary dominant chord you have to ask yourself, “This secondary dominant is the 'V7' of what chord?” Looking at the chord progression above ask yourself, “D7 is the 'V7' of what chord?” The answer is that D7 is the 'V7' of G.