This document provides an overview of secondary dominants, extended dominants, and related IIm7 chords. It describes how secondary dominants usually resolve but can have deceptive resolutions, and how they often occur on weak stresses but not always. Extended dominants are strings of dominant chords that delay resolution through descending fifth root motion. Related IIm7 chords set up dominant functions and can be diatonic or non-diatonic, with available tensions depending on whether they are diatonic. The document provides examples and considerations for using these harmonic devices.

1. Harmony 2
Week 5

2. Learning Outcomes
• By the end of today’s session, students will be able to:
• Describe how secondary dominants function in progressions, including
deceptive resolution
• Identify and construct extended dominants
• Identify and construct related IIm7 chords and their tensions

3. Secondary Dominants in Progressions
• Compare:

4. Deceptive Resolution of Secondary
Dominants
• Secondary dominants generally resolve to their target chords, but
deceptive resolution is also possible.
• See below:

5. Secondary Dominants on Strong Metrical
Stresses
• Although secondary dominants typically occur on weak stresses, they
do not always do so.
• Eg, because the V7 chord most often occurs at the end of a phrase
(weakest possible stress point), it’s secondary dominant, V7/V usually
appears on a relatively stronger stress:

6. Summary
• Secondary dominants usually appear on a weak harmonic stress
• Secondary dominants usually resolve as expected, but deceptive
resolutions are also possible
• If a secondary dominant other than the V7/V appears on the strong
stress, it usually resolves to its target chord

7. Extended Dominants
• Positioning a dominant chord on the primary stress point in a
progression can set the stage for even longer patterns of dominant
resolution
• An Extended Dominant series is:
• A string of three or more dominant chords that start on a strong
harmonic stress point, and resolve, one to the next, by descending
perfect-fifth root motion

9. • The parallel chromatic scales in the essential voice leading create a
very strong progressive pattern that continually delays resolution and
a sense of rest.
• Our sense of normal diatonic function is temporarily suspended while
we are carried along by the pattern on dominant resolution

10. • Analysis for extended dominants involves two factors:
1. Arrows to show the pattern of dominant progression
2. The chord root that starts the series is labeled as a reference to the
tonal center.

11. • An extended dominant string can lead to diatonic goal chords other
than Imaj7
• In some cases it may not resolve at all.

14. Related IIm7 Chords
• The related IIm7 V7 unit is a minor7 – dominant 7 pair with root
motion by descending fifth that creates a strong expectation of
resolution
• The “II V” is one of the most important defining features of jazz
harmony, but it’s important in other styles as well
• In many styles the IIm7 and V7 work together to help define the
tonality of a piece of music
• This pattern of IIm7 setting up the V7 chord can be copied and
applied to secondary and extended dominants

15. Related IIm7’s
• There are two kinds of related IIm7 chords – diatonic and non-
diatonic.
• Related IIm7 chords for the V7/IV, V7/III and sometimes the V7/VI will
be non-diatonic
• Related IIm7 chords for the V7/II and V7/V and sometimes the V7/VI
will be drawn from the key and therefore diatonic

17. Available Tensions
• When related IIm7 chords are diatonic, usually the approach is to use
diatonic tensions as well
• IIIm7 – T11
• VIm7 – T9, T11
• VIIm7(b5): T11 and Tb13
• Otherwise, use dorian – T9, T11

18. Related IIm7 Summary and Practical
Considerations
• Any dominant function chord can be preceded by its related IIm7 or
IIm7(b5)
• The related II always sounds on a stronger harmonic stress point than the
secondary dominant
• VIIm7(b5), IIIm7 and VIm7 are potential dual function chords: they are
diatonic to the key and can also function as related II’s
• m7 and m7(b5) qualities are interchangeable, with these factors to
considers:
• Diatonic related II’s sound more “inside”, conservative, they imply a predictable
diatonic result
• Alternate versions of related II’s sound more colorful, whether brighter or darker –
they call the expected resolution into question.
• The related II’s of extended dominants have tensions 9 and 11