Table of Contents
In the realm of classical music composition, understanding how to effectively employ secondary dominants is essential for creating harmonic interest and tension. These chords serve as pivotal tools that enrich the harmonic language of a piece, especially within the strict forms of canons where thematic development must be achieved through inventive harmonic progressions.
What Are Secondary Dominants?
Secondary dominants are chords that function as the dominant of a chord other than the tonic within a key. They temporarily tonicize a different scale degree, creating a sense of movement and anticipation. For example, in the key of C major, the chord D7 acts as the V of G, making G the temporary target. This introduces a brief modulation or emphasis on the dominant of the dominant, adding color and complexity to the harmony.
Harmonizing with Secondary Dominants in Canon Composition
In canon composition, where voices enter at different times with the same or related material, secondary dominants can be used to create smooth, engaging harmonic progressions. They help to maintain interest and develop the thematic material by providing harmonic variety and tension that resolves naturally within the canon structure.
Strategic Placement of Secondary Dominants
Effective use of secondary dominants involves careful placement within the canon. They are often introduced before a cadence or a significant phrase to heighten anticipation. For example, inserting a V of V (like D7 in C major) before resolving to G major can create a compelling harmonic push that energizes the progression.
Common Secondary Dominants and Their Targets
- D7 — V of G
- E7 — V of A
- F#7 — V of B
- A7 — V of D
Harmonic Resolution and Voice Leading
Proper resolution of secondary dominants is crucial for maintaining harmonic clarity. They typically resolve to their target chords by moving the leading tone up a half step or by common tone retention. Voice leading should be smooth, with minimal movement to preserve the clarity of the canon.
Examples in Canon Composition
In works by composers such as Johann Sebastian Bach, secondary dominants are frequently employed to enhance the expressive quality of canons. For instance, in the “Canon in D,” Bach uses secondary dominants to transition smoothly between sections, heightening the sense of harmonic progression and development within the strict form.
Conclusion
Mastering the use of secondary dominants allows composers and students to add depth and sophistication to their harmonic language. When integrated thoughtfully in canon composition, these chords serve as powerful tools for creating tension, interest, and resolution, all while maintaining the structural integrity of the form.