Secondary dominant (also applied dominant or artificial dominant) is an analytical label for a specific harmonic device, prevalent in the tonal idiom of Western music beginning in the common practice period. It refers to a dominant seventh chord set to resolve to a degree that is not the tonic, with V7/V, the dominant of the dominant, "being the most frequently encountered". The chord to which a secondary dominant progresses can be thought of as a briefly tonicized chord or pitch (tonicizations longer than a phrase are modulations). The secondary dominant terminology is still usually applied even if the chord resolution is nonfunctional (for example if V/ii is not followed by ii).
Read more about Secondary Dominant: Definition and Notation, Normal Sequencing or Cadence, History, Mozart Example, Use in Jazz, Popular Music, Extended Dominant
Famous quotes containing the words secondary and/or dominant:
“Readers are less and less seen as mere non-writers, the subhuman “other” or flawed derivative of the author; the lack of a pen is no longer a shameful mark of secondary status but a positively enabling space, just as within every writer can be seen to lurk, as a repressed but contaminating antithesis, a reader.”
—Terry Eagleton (b. 1943)
“A dominant race did not lie, because it had the whip.”
—Christina Stead (1902–1983)