Skip to content

Unit 14 · Secondary dominants · Lesson 2 of 3

everywhere

Need a definition? Tap or click a dotted word. You can hear examples there, too.

Look for the

A almost always brings in a from outside the - the of the it points to. In C: - A7 (C♯) → V7/ii → Dm - E7 (G♯) → V7/vi → Am - C7 (B♭) → V7/IV → F

Hear one in a real tune: in Amazing Grace, G7 points to C.

Amazing Grace

Traditional (words John Newton, 1779) · G major · 3/4

  1. Bar 1
    GI
  2. Bar 2
    G7V7/IV
    G7 = V7/IV: a secondary dominant pointing at C.
  3. Bar 3
    CIV
  4. Bar 4
    GI
  5. Bar 5
    GI
  6. Bar 6
    Emvi
  7. Bar 7
    DV
  8. Bar 8
    D7V7
    V → V7 → I: the dominant gains its 7th for extra pull home.
  9. Bar 9
    GI
  10. Bar 10
    G7V7/IV
  11. Bar 11
    CIV
  12. Bar 12
    GI
  13. Bar 13
    Emvi
  14. Bar 14
    D7V7
  15. Bar 15
    GI
  16. Bar 16
    GI
  • G7 isn't in G major - the F♮ turns the tonic into a dominant that leans toward C.
  • Phrase 1 ends on D (a half cadence); phrase 2 ends D7 → G (an authentic cadence).
Step 1 of 2