Product Description
This piece gives practice in understanding sophisticated chord progressions that use secondary dominance (temporary key changes). For Example:
Key of E minor:
G E7 Am
- The E7 chord does not "belong" (diatonic) in the key of E minor. However, it is the V7 chord of the A minor chord. Therefor, the E7 chord is a dominant chord, it is just not the primary dominant 7th chord in the key of e minor, it's a secondary one.
- In measure 13 of this piece there is a G#dim7 chord that leads steretypically to A minor. This is the same trick explained earlier, just the chords are ever so slightly different by one note, drastically changing the name of the chord. G#dim7 does not "belong" (diatonic) in the key of E minor.
Tips:
1. Secondary dominance allows a composer to get to any chord and key in a seamless sounding way.
2. Secondary dominance is a common way to incorporate more chromaticism in compositions.
3. I chose this strange time signature just so that the letter names on the note heads are more visible.
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This product was created by a member of ArrangeMe, Hal Leonard's global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.