Secondary Dominants
The pieces on this site that are listed below contain secondary dominants.
Definition: A secondary dominant is a dominant functioning chord of a major or minor chord in a key other than tonic.
The pieces that are not in Public Domain are marked NON-PD and may not have a score.
| PERIOD/PAGE | COMPOSER | COMPOSER CATEGORY | COMPOSITION | ANALYTIC TOPICS |
|---|---|---|---|---|
| Jazz, Pop, and Film Music | Parker, Charlie and Gillespie, Dizzy | American, male, black | “Anthropology” (1946/1974) – NON-PD | Rhythm Changes, Secondary Dominants, contrafact of “I Got Rhythm” |
| Jazz, Pop, and Film Music | Parker, Charlie | American, Black | “Confirmation” (1946) – NON-PD | Tritone sub, circle of 5ths progression, 32-bar song form |
| Romantic | Chopin, Frederic | Polish | Prelude No. 20 in C minor, Op. 28 | Binary, secondary dominants, Aug 6, Neapolitan |
| Classical | Mozart, Wolfgang A. | Austria | The London Sketchbook No 33 – Rondo In F Major, K 15hh | Rondo (small), secondary dominants |
| Classical | Beethoven, Ludwig Van | male | Piano Sonata No. 8 in C minor (Pathetique), Op. 13, III: Rondo | Rondo (sonata), Aug 6, secondary dominants |
| Classical | Mozart, Wolfgang A. | Austria | Piano Sonata No. 13 in Bb Major, K. 333, I: Allegro | Sonata rondo, secondary dominants, Aug 6 (Gr6) |
| Classical | Beethoven, Ludwig Van | male | Piano Sonata No. 1 in F minor, Op. 2 No. 1, I: Allegro | Sonata form, Aug 6, secondary dominants |
| Classical | Beethoven, Ludwig Van | male | Piano Sonata No. 23, Op. 57 (Appassionata), I: Allegro assai | Sonata form, Neapolitan, Secondary Dominants |
| Romantic | Brahms, Johannes | Cello Sonata No. 1, Op. 38, Mvt. 1 | Sonata Form, Neapolitan, secondary dominants, mixture | |
| Romantic | Schubert, Franz | Austrian, Male | Symphony No. 5, D. 485, Mvt. 1 | Sonata form, Secondary Dominants, Aug 6, Mixture |
| Romantic | Le Beau, Luise Adolpha | Female | Romanze fur Violine, Op. 35 | Ternary form, Aug 6, cto7, secondary dominanats |
| Romantic | Schumann, Clara | Female | Drei Romanzen fur Violine und Kalvier, Op. 22, No. 1 | Ternary form, Aug 6, secondary dominants |
| Classical | Szymanwska, Maria A. | Female | March 1 from Six Marches | Ternary, compound ternary, Aug 6, Secondary Dominants |
| 20th century | Aufderheide, May | Female | Buzzer Rag | Secondary Dominants |
| Baroque | Bach, J.S. | German, Male | Well Tempered Clavier, Book 1, Prelude 1 in C major, BWV 846 | ii-V-I progression, secondary dominants |
| Jazz, Pop, and Film Music | Berlin, Irving | American, Male | “Easter Parade” (1933) – NON-PD | cto7, secondary dominants, ii-V-I progression |
| Jazz, Pop, and Film Music | Blake, Eubie and Sissle, Noble | Black | “Gypsy Blues” (1921) | Augmented 6 chords, Secondary Dominants (circle of fifths progression) |
| Jazz, Pop, and Film Music | Churchill, Frank and Morley, Larry | American, Male | “Some Day My Prince Will Come” (1937) – NON-PD | (descending) passing diminished 7th chord, secondary dominants (deceptive resolution) |
| Classical | Dykes, John B. | English (UK) | Eternal Father, Strong to Save (Navy Hymn) | Modulation, Secondary Dominants |
| 20th Century | Evans, George | Welsh | “In the Good Old Summertime” | secondary dominants, cto7, Aug 6 |
| Romantic | Hensel, Fanny | Female | Six Lieder, Op. 7 No. 1: Nachtwanderer | Modulation, secondary dominants, Aug 6 |
| Jazz, Pop, and Film Music | Jones, Isham and Symes, Marty | American | “There Is No Greater Love” (1936) – NON-PD | Tritone sub, secondary dominants, ii-V-I progression, Aug 6 |
| Jazz, Pop, and Film Music | Lennon, John and McCartney, Paul | United Kingdom (England), Male | “Hey Jude” (1968) – NON-PD | Secondary Dominants. Turnaround |
| Classical | Paradis, Maria Theresa von | Female | Das Gertnerliedchen aus dem Siegwart | Secondary Dominants |
| Jazz, Pop, and Film Music | Porter, Cole | American, Male | “Could It Be You” (1942) – NON-PD | mixture, ii-V-I progression, secondary dominants |
| Jazz, Pop, and Film Music | Rodgers, Richard and Hammerstein, Oscar | American | “Do-Re-Mi” (1959) from The Sound of Music – NON-PD | secondary dominants |
| Romantic | Schubert, Franz | Austrian, Male | “Die Liebe,” D. 210 | Secondary dominants, Aug 6 |
| Romantic | Schubert, Franz | Austrian, Male | “Erlkonig” | Neapolitan, secondary dominants |
| Romantic | Schubert, Franz | Austrian, Male | Schwanengesang, D. 957, No 13: “Der Doppelganger” (1828) | Aug 6, secondary dominants, Neapolitan |
| Romantic | Schumann, Robert | German | Myrthen Op. 25, No. 24: Du bist eine Blume (1840) | Aug 6, secondary dominants |
| Jazz, Pop, and Film Music | Strayhorn, Billy | American | “Take the A Train” (1939) – NON-PD | secondary dominants, passing diminished 7th |
| Jazz, Pop, and Film Music | Young, Victor and Heyman, Edward | American | “When I Fall In Love” (1952) – NON-PD | Altered dominants, Aug 6, Tritone sub, secondary dominants |