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7b Secondary dominant

A secondary dominant creates a VI progression onto a chord other than the tonic, creating the impression of a temporary tonic (called a tonicisation). In this example, Mozart turns chord ii in the second bar into a secondary dominant onto chord V. In other words, the A dominant seventh chord (in first inversion with the C# in the bass) forms a V-I progression onto chord V, temporarily turning the chord into a tonic. The secondary dominant here is labelled of as it is the dominant of V. Secondary dominants can be V of any chord (ii  and vi are both common as well).

Mozart String Quartet K170


secondary dominant mozart K170 AT

How to write a secondary dominant

  1. decide on the chord to which your secondary dominant will resolve (this chord will become a temporary tonic – it will be tonicised)
    in this example we are in C major and I have chosen chord V (a G major chord) to tonicise
  2. find the note a fifth above (or fourth below) this temporary tonic (this will be the dominant of the chord being tonicised)
    in this example a D is the dominant of G
  3. add any accidentals that you would need if you were in the key of the temporary tonic (it should be a major chord or a major triad plus minor seventh making a dominant seventh)
    in this example the F needs to be sharpened to make a major triad
  4. you can use this chord in root position or first inversion – if you include a seventh it will usually resolve down by step

secondary dom