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Secondary dominant refers to the functional dominant of the key's dominant or another non-tonic chord, while substitute dominant refers to an alternative functional dominant of the key's tonic. The extending of dominants to secondaries (or beyond) is a practice which remains firmly inside the circle
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Similar chromaticism and harmonic interest can be achieved by the use of a secondary dominant of V, for example V/V–V–I (that is, II–V–I), instead of ii–V–I. Another popular turnaround which may be considered as a secondary dominant analysis is
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Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or
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I–vi–ii–V may be transformed through various chord substitutions. For example, the vi and ii chords may be substituted with dominant chords, giving I–VI–II–V or C–A–D–G, the
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V/V instead of V allows for a smooth chromatic descent. Again, let us examine C major; the original turnaround would be Dm–G–C, while the modified would be Dm–D
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which leads to the next section. This next section is most often the repetition of the previous section or the entire
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leading to ii, i.e. V/ii. Take the example in C major: C–A–Dm–G. The third of the VI chord (in this case, C
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of fifths, while the substitution of dominants replaces that cycle with one of minor-second intervals.
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133:. The III-VI-II-V (or V/V/V/V–V/V/V–V/V–V) leads back to C major (I) but is itself indefinite in key.
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II–I), which is a variation on the standard ii–V–I turnaround. In jazz parlance, use of the
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pattern, the twelfth bar may end on the dominant. All of the chords in a turnaround may be
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II functions exactly as V/I does, because the two chords enharmonically contain the same
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332:–C . The obvious chromatic movement is thorough; it is apparent in the roots (D–D
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II–I, forms the familiar line cliché, arriving satisfyingly at the tonic.
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Patterns for Jazz: A Theory Text for Jazz
Composition and Improvisation
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338:–C), thirds (F–F–E; F is often used as a pedal tone), and fifths (A–A
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downward motion of the roots of those chords, as seen in ii–
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288:) allows for chromatic movement from C (the root of I) to C
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Audio playback is not supported in your browser. You can
235:(I) (or a tonic substitute such as iii) and end on the
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The
Harvard Concise Dictionary of Music and Musicians
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The turnaround may lead back to this section either
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614:, Amazon Digital Services, Inc., ASIN: B008FRWNIW
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278:, m etc.) but here the major third makes it a
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612:DOG EAR Tritone Substitution for Jazz Guitar
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639:
627:Applications and examples for jazz guitar
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416:, or to every chord but the I, giving C–E
294:(the third of VI) to D (the root of ii).
142:Tadd Dameron turnaround with resolution.
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373:(tritone substitution). Harmonically,
239:(V), the next section starting on the
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347:While in that particular example the
231:Turnarounds typically begin with the
157:Typical turnarounds in jazz include:
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316:II instead of the V is known as
125:(E-A-D-G) often appears in the
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1:
1247:Electroacoustic improvisation
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484:Randel, Don Michael (2002).
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1114:List of chord progressions
243:(I). They may also end on
86:I–vi–ii–V turnaround in C
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353:V/V can be considered a
175:I–VI–II–V (I–V/ii–V/V–V)
972:Tadd Dameron turnaround
531:Jazz Chord Progressions
510:Jazz Chord Progressions
253:). Thus when used in a
222:Tadd Dameron turnaround
112:download the audio file
20:ii–V–I turnaround in C
1067:Montgomery-Ward bridge
1047:Royal road progression
942:Montgomery-Ward bridge
454:Montgomery-Ward bridge
154:
99:
32:
1012:Borrowed (contrafact)
598:Boyd (1997), p.46-47.
568:Coker, et al (1982).
265:Harmonic alternatives
141:
85:
19:
1177:Backdoor progression
1103:Irregular resolution
881:Backdoor progression
678:Backdoor progression
464:Sears Roebuck bridge
449:Backdoor progression
318:tritone substitution
529:Boyd, Bill (1997).
508:Boyd, Bill (1997).
402:ragtime progression
371:substitute dominant
251:dominant substitute
123:ragtime progression
1404:Chord progressions
1306:Jazz improvisation
1252:Free improvisation
1237:Constant structure
1217:Chord-scale system
1037:Passamezzo moderno
997:Andalusian cadence
927:Andalusian cadence
906:Passamezzo moderno
806:Constant structure
777:Chord progressions
589:Boyd (1997), p.44.
559:Boyd (1997), p.90.
550:Boyd (1997), p.86.
280:secondary dominant
199:(blues turnaround)
167:circle progression
155:
100:
33:
1381:
1380:
1212:Call and response
1120:
1119:
1097:Pachelbel's Canon
1032:Passamezzo antico
980:
979:
947:Passamezzo antico
901:Sixteen-bar blues
866:V–IV–I turnaround
861:ii–V–I turnaround
743:
742:
723:V–IV–I turnaround
718:ii–V–I turnaround
163:ii–V–I turnaround
116:
68:chord progression
1416:
1409:Jazz terminology
1368:Twelve-bar blues
1227:Coltrane changes
1147:
1140:
1133:
1124:
1123:
1052:"Rhythm" changes
1022:Coltrane changes
922:'50s progression
891:Twelve-bar blues
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355:Neapolitan chord
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255:twelve bar blues
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78:Typical examples
47:at the end of a
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1394:Jazz techniques
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1373:Upper structure
1316:Melodic pattern
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1083:Aeolian harmony
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886:Eight-bar blues
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818:(Roman-numeral)
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605:Further reading
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304:V/V–I (i.e. ii–
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249:II (which is a
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1182:Bar-line shift
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1007:"Bird" changes
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895:"Bird" changes
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619:External links
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444:Approach chord
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259:seventh chords
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131:jazz standards
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1161:improvisation
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876:VII–V cadence
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824:Rewrite rules
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735:VII–V cadence
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708:Picardy third
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518:0-7935-7038-7
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494:0-674-00978-9
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459:Passing chord
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1361:Tadd Dameron
1350:
1192:Bird changes
1062:Tadd-Dameron
828:
811:Double tonic
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64:harmonically
61:
40:
34:
1346:Syncopation
1289:Jam session
1269:Harmolodics
1197:Block chord
1187:Bebop scale
1093:Ground bass
962:IV–V–iii–vi
784:Terminology
625:Turnarounds
227:iii-VI-ii-V
161:I–vi–ii–V (
72:melodically
1388:Categories
1351:Turnaround
1326:Polyrhythm
1311:Lead sheet
1294:Jazz chord
1242:Contrafact
1172:Avoid note
829:Turnaround
713:Turnaround
673:Andalusian
470:References
41:turnaround
1222:Chordioid
1202:Blue note
967:Romanesca
952:I–V–vi–IV
937:vi–ii–V–I
840:of chords
838:By number
816:Notation
572:, p.118.
385:half step
363:V/V) but
172:I-VI-ii-V
1399:Cadences
1284:Jam band
1088:Chaconne
1002:Backdoor
873:♭
856:I–IV–V–I
732:♭
662:Cadences
533:, p.56.
512:, p.43.
438:See also
431:♭
425:♭
419:♭
413:♭
407:♭
390:♭
376:♭
366:♭
360:♭
350:♭
341:♭
335:♭
329:♭
323:♭
320:. Using
313:♭
307:♭
301:♭
291:♯
285:♯
246:♭
237:dominant
217:♭
211:♭
205:♭
190:♭
184:iii–ii–V
181:♭
1321:Outside
1299:So What
1274:Harmony
1232:Comping
1207:Cadenza
1076:Related
1042:Ragtime
1027:Omnibus
985:By name
893: (
801:Changes
796:Cadence
698:Landini
693:English
688:Corelli
683:Cadenza
496:. p.693
381:tritone
66:, as a
49:section
45:passage
1356:ii-V-I
1264:Groove
1157:theory
1017:Circle
791:Bridge
703:Lydian
576:
537:
516:
492:
369:II, a
197:V–IV–I
127:bridge
1341:Swing
1336:Scale
1057:Stomp
932:Folía
848:Three
344:–G).
241:tonic
233:tonic
187:I–vi–
70:, or
53:piece
43:is a
1279:Head
1257:List
1159:and
1154:Jazz
956:list
915:Four
574:ISBN
535:ISBN
514:ISBN
490:ISBN
410:–D–D
220:II (
208:III–
193:VI–V
148:Play
121:The
92:Play
57:song
39:, a
37:jazz
26:Play
992:50s
298:ii–
214:VI–
129:of
55:or
35:In
1390::
501:^
488:.
477:^
434:.
428:–D
422:–A
274:,
202:I–
178:I–
165:,
74:.
59:.
1146:e
1139:t
1132:v
1099:)
1095:(
958:)
954:(
897:)
769:e
762:t
755:v
654:e
647:t
640:v
580:.
541:.
520:.
276:m
272:m
224:)
169:)
114:.
98:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
