berklee - jazz composition (trascinato) 2
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Secondary dominant progressions (V7/II7, V7/III7, V7/IV, V7/V, V7/VI7,V7/VII7(%5)) create a secondary level of harmonic gravity. In addition, each of theseV7 chords has a substitute dominant available to take its place at the whim of the performer or composer/arranger. The substitute dominant contains the same tritone asthe real dominant and acts as an alias for it. The root of a substitute dominant chord isan augmented fourth (or its equivalent, the diminished fifth) away from the root of thereal dominant chord (e.g. D%7 is the substitute dominant for G7 in the key of C major.Conversely, G7 is the substitute dominant for D%7 in the key of G% major.) Dominantresolution produces root motion down a perfect fifth to the target chord. Substitute dominant resolution produces root motion down a half step to the target chord.
Passing diminished chords move up by half step between I and II7, between II7 andIII7, between IVMaj7 and V7, and between V7 and VI7. They mimic secondary dominants because of the common tones that are shared.
Traditional practice in jazz harmony allows the placement of the related II7 chordbefore any dominant seventh chord. The related II7 chord comes from the same keyof the moment as the V7. Therefore D7 is the related II7 of G7 regardless of whereit occurs in a progression. E%7 is the related II7 of A%7, F#-7 is the related II7 of B7,and so on. Related II7 chords are often used before substitute dominants as well.
The following chart summarizes the above in the key of C major. The tune Catch Me IfYou Can on the following page utilizes a variety of tonal progressions.
A 7
D7
DominantPrimary
TONIC
V7/I
I Maj7
CMaj7
D 7
G7
mimicsA7( 9)
I 7
C 7
Subdominant
B 7
E7
V7/II7
Alias
II7
D7
E 7
A7
II 7
mimicsB7( 9)
D 7
Secondary dominants, their substitutes, and related II7s
Harmonic Universe in C Major
C7
F 7
V7/III7
TonicAlias
Passing Diminished
III7
E7
B7
F7
SUBDOMINANT
D 7
G7
IV Maj7
V7/IV
FMaj7
G 7
C7
IV 7
mimicsD7( 9)
F 7
E 7
A7
DOMINANT
V7/V
V7
G7
A 7
D7
mimics
V 7
E7( 9)
G 7
F7
B7
V7/VI7
TonicAlias
VI7
A7
B 7
E7
V7/VII7( 5)G7
C 7
Dominant
VII7( 5)
Alias
B7( 5)
F 7
C7
CHAPTER 2 HARMONIC CONSIDERATIONS
jazz composition 1 5/28/03 4:32 PM Page 53