secondary dominants in MINOR.

[andy-uk]

any links/info on this?

I see that with minor we have a more of a choice for
harmonisation .....do you just bang on a dominant a fifth up?

this seems to correlate to the B-section of the minuet I was working
on: lots of E7,A7,F#7 in the key of Eminor.....the A section uses V7
of V as Joey pointed out to me.

http://picasaweb.google.co.uk/lh/photo/e-PaDM-lHf_KDulZ5DNLhQ?feat=directlink

TIA

[drthoma...@gmail.com]

> http://picasaweb.google.co.uk/lh/photo/e-PaDM-lHf_KDulZ5DNLhQ?feat=di...
>
> TIA

I would suggest studying songs like Moanin' and You Don't Know What
Love Is to see how this is commonly handled.

[Joey Goldstein]

Secondary dominants usually tonicize a diatonic major or minor chord in
the key.
Secondary dominants do not usually tonicize a diatonic dim chord. Eg.
there is no V7/VIIdim in major keys.
Secondary dominant chords always have diatonic roots, which is another
reason why there is no V7/VIIdim in major keys.

Here's a list of the diatonic chords in minor that are suitable targets
of secondary dominant chords:

bII (fr the parallel phrygian): V7/bII in C minor would be Ab7
IIm (fr melodic min or dorian): V7/IIm, in C minor, would be A7.
bIII: V7/bIII in C minor would be Bb7. (But Bb7-Eb would normally be
seen as a move to the relative major key.)
IVm (or IV, fr mel min or dorian): V7/IVm in C minor would be C7.
V: V7/V in C minor would be D7.
bVII: V7/bVII in C minor would be Eb7.
bVII: V7/bVII in C minor would be F7.

Hope that helps.

--
Joey Goldstein
<http://www.joeygoldstein.com>
<http://homepage.mac.com/josephgoldstein/AudioClips/audio.htm>
joegold AT primus DOT ca

[andy-uk]

thank you!