Secondary Dominants & Modal Interchange
Secondary dominants and borrowed chords add chromatic richness to diatonic progressions. This week you borrow, resolve, and analyze.
Learning Goals
Lesson Content
Secondary Dominants
Any diatonic chord can be preceded by its own V7 — a "dominant of the dominant." In C major, D7 → G is V/V → V. The secondary dominant tonicizes its target without fully changing key.
Modal Interchange
Borrowing a chord from the parallel minor (like bVI, bVII, or iv in a major key) introduces a darker color. The Beatles, Radiohead, and countless other songwriters use modal interchange for emotional contrast.
Roman Numeral Analysis
Slash notation (V/V, V/vi, iv borrowed) lets you label non-diatonic chords precisely. Practice analyzing songs you love: every chord gets a Roman numeral relative to the key.
Practice Activities
Activity 1: Play V/V and V/vi on the Synth
On the Synthesizer, in C major, play D7 → G → C (V/V → V → I) and E7 → Am (V/vi → vi). Feel how the secondary dominant "points at" its target.
Activity 2: Progression Identification — Advanced
Hit 20 correct with 75%+ accuracy in Chord Progression Identification on Advanced. Listen closely for non-diatonic motion.
Activity 3: Analyze a Borrowed-Chord Song
Pick a song you know (e.g., The Beatles' "Blackbird" or Radiohead's "Creep"). Label every chord with Roman numerals and circle any borrowed or secondary dominant chords.
Activity 4: Scale Identification — Advanced (Parallel Modes)
Reach 20 correct with 75%+ accuracy in Scale Identification on Advanced. Parallel mode comparison helps you hear what's being borrowed.
Activity 5: Chord Identification Refresh
Hit a best streak of 12 in Chord Identification on Advanced. Secondary dominants are just dominant 7ths in disguise — know them cold.