Stuart Smith
Secondary functions and tonicization
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Secondary functions and tonicizationDominant seventh-quality chords abound in jazz. Of course, each key contains only one dominant seventh, the chord built on the fifth scale degree. However, many other dominant seventh-quality chords can be used within a given key. The chord on every scale degree (with the possible exceptions of VII in major and II and VI in minor) can be preceded by its own dominant or dominant seventh chord. This means that there can be a V of II, V of III, V of ÓIII, V of IV, V of V, V of VI, V of ÓVI, and V of ÓVII. These dominants are called secondary dominants because they function just like the actual dominant of the key except that they go to some chord other than I. The destination chord is said to be “tonicized” by the secondary dominant. That is, the secondary dominant causes the destination chord to treated as a sort of temporary tonic. In jazz, chains of secondary dominants are common. For example, the pop standard Please Don’t Talk About Me When I’m Gone has the following sequence of secondary dominants: *………………………………………* | EÓÎ | GÏ | CÏ | | FÏ | BÓÏ | EÓÎ | | | IÎ | VÏof VI | VÏof II | | VÏof V | VÏ | IÎ | | | ¦ | ¦ |¦ | ¦ | ¦ | ¦ | ¦ |¦ |
*..….……………...* | CÎ | BƒÏ EÏ | FÎ | IÎ | II of VI VÏof VI | VI of VI | ¦ | ¥ ¥ | ¦ Here is a possible keyboard realization of this chord progression: 
As this example shows, a secondary dominant can be preceded by its own supertonic (II). Thus we can have “secondary supertonics.” Often these chords are already available in the given key. For example, VI can function as a secondary supertonic to V of V, III to V of II, VII to V of VI, etc. Other chords require some modification to become secondary supertonics. In Duke Ellington’s Satin Doll the Em7-A7 progression of the A section is a secondary supertonic followed by a secondary dominant, as are the Gm7-C7 and Am7-D7 progressions in the bridge. Only the Gm7 requires a modified note (BÓ) to function as a secondary supertonic (Students of traditional music theory, give a Roman numeral analysis of the harmony here): 
There is also a “secondary subdominant” function, that is, a chord functioning as IV in relation to a secondary dominant. Both secondary supertonics and secondary subdominants function as dominant preparation chords, and therefore belong in strong positions in chord progressions. As with the ordinary dominant preparation chords, all the alternate chord possibilities listed in the third column of the Rhythm changes map above are available. Download 1.17 Mb. Share with your friends:
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