53

Secondary dominant progressions (V7/II–7, V7/III–7, V7/IV, V7/V, V7/VI–7,

V7/VII–7(%5)) create a secondary level of harmonic gravity. In addition, each of these

V7 chords has a substitute dominant available to take its place at the whim of the

performer or composer/arranger. The substitute dominant contains the same tritone as

the “real” dominant and acts as an alias for it. The root of a substitute dominant chord is

an augmented fourth (or its equivalent, the diminished fifth) away from the root of the

“real” dominant chord (e.g. D%7 is the substitute dominant for G7 in the key of C major.

Conversely, G7 is the substitute dominant for D%7 in the key of G% major.) Dominant

resolution produces root motion down a perfect fifth to the target chord. Substitute

dominant resolution produces root motion down a half step to the target chord.

Passing diminished chords move up by half step between I and II–7, between II–7 and

III–7, between IVMaj7 and V7, and between V7 and VI–7. They mimic secondary

dominants because of the common tones that are shared.

Traditional practice in jazz harmony allows the placement of the related II–7 chord

before any dominant seventh chord. The related II–7 chord comes from the same “key

of the moment” as the V7. Therefore D–7 is the related II–7 of G7 regardless of where

it occurs in a progression. E%–7 is the related II–7 of A%7, F#-7 is the related II–7 of B7,

and so on. Related II–7 chords are often used before substitute dominants as well.

The following chart summarizes the above in the key of C major. The tune “Catch Me If

You Can” on the following page utilizes a variety of tonal progressions.

A –7

D–7

Dominant

Primary

TONIC

V7/I

I Maj7

CMaj7

D 7

G7

mimics

A7( 9)

I 7

C 7

Subdominant

B –7

E–7

V7/II–7

Alias

II–7

D–7

E 7

A7

II 7

mimics

B7( 9)

D 7

Secondary dominants, their substitutes, and related II–7s

Harmonic Universe in C Major

C–7

F –7

V7/III–7

Tonic

Alias

Passing Diminished

III–7

E–7

B7

F7

SUBDOMINANT

D –7

G–7

IV Maj7

V7/IV

FMaj7

G 7

C7

IV 7

mimics

D7( 9)

F 7

E –7

A–7

DOMINANT

V7/V

V7

G7

A 7

D7

mimics

V 7

E7( 9)

G 7

F–7

B–7

V7/VI–7

Tonic

Alias

VI–7

A–7

B 7

E7

V7/VII–7( 5)

G–7

C –7

Dominant

VII–7( 5)

Alias

B–7( 5)

F 7

C7

CHAPTER 2 HARMONIC CONSIDERATIONS

57

CHAPTER 2 HARMONIC CONSIDERATIONS

Tonal Harmony (Minor Key Orientation)

There are three forms of the minor scale: natural minor, melodic minor, and harmonic

minor. Natural minor contains a diatonic sixth and seventh degree. Melodic minor

contains a raised sixth and seventh degree, while harmonic minor contains the diatonic

sixth degree and a raised seventh degree.

The following charts demonstrate (respectively) the harmonic universe of C natural

minor, C harmonic minor, and C melodic minor, and they show the diatonic seventh

chords that are produced on each note of these respective C minor scales.

Harmonic Universe in C Natural Minor

Primary Secondary dominants, their substitutes, and related II–7s

Dominant

V7/I–7 V7/II–7( 5) V7/ IIIMaj7 V7/IV–7 V7/V–7 V7/ VIMaj7 V7/ VII7

A –7 D 7 B –7 E 7 B–7 E7 D –7 G 7 E –7 A 7 E–7 A7 F –7 B7

D–7( 5) G7( 9) E–7( 5) A7( 9) F–7( 5) B 7( 9) G–7( 5) C7( 9) A–7( 5) D7( 9) B –7( 5) E 7( 9) C–7( 5) F7( 9)

C–7 D–7( 5) E Maj7 F–7 G–7 A Maj7 B 7

I–7 II–7( 5) III Maj7 IV–7 V–7 VI Maj7 VII7

TONIC Subdominant Tonic SUBDOMINANT DOMINANT Subdominant Subdominant

Minor Minor Minor Minor Minor 7th Minor Minor

Alias Alias Alias Alias

Harmonic Universe in C Harmonic Minor

Primary Secondary dominants, their substitutes, and related II–7s

Dominant

V7/I–(Maj7) V7/II–7( 5) V7/ III+(Maj7) V7/IV–7 V7/V7 V7/ VIMaj7 V7/VII 7

A –7 D 7 B –7 E 7 B–7 E7 D –7 G 7 E –7 A 7 E–7 A7 G–7 C7

D–7( 5) G7( 9) E–7( 5) A7( 9) F–7( 5) B 7( 9) G–7( 5) C7( 9) A–7( 5) D7( 9) B –7( 5) E 7( 9) F 7( 9)

C–(Maj7) D–7( 5) E +(Maj7) F–7 G7 A Maj7 B 7

I–(Maj7) II–7( 5) III+(Maj7) IV–7 V7 VI Maj7 VII 7

TONIC Subdominant Tonic SUBDOMINANT DOMINANT Subdominant Dominant

Minor Minor Minor Minor 7th Minor

Alias Alias Alias

Alias

C –7( 5)

The three forms of the minor scale are interchangeable, and you may notice that some

tunes contain references to all three depending on the whim of the composer. In the

following example, “Minor Differences,” you will find all three forms of the A minor

scale being used. For reference, these scales are shown on the second staff (below the

melody). Notice that some of them are built up from the root of the chord-of-the-

moment, thereby indicating the correct chord scale for that chord (i.e., the mode of the

designated minor scale).

Note: For a thorough discussion of chord-scale theory see Modern Jazz Voicings by Ted

Pease and Ken Pullig.

58

JAZZ COMPOSITION THEORY AND PRACTICE

Note: Primary and secondary dominant chords in a minor key tend to use %9 as a har-

monic tension because it has a darker sound than $9. When %9 is used, the related II–7

chord usually takes %5, because %5 and %9 of the dominant are the same pitch. The

substitute dominants take $9, and their related II–7s take $5.

A –7

D–7( 5)

Dominant

Primary

V7/I–(Maj7)

TONIC

Minor

I–(Maj7)

G7( 9)

C–(Maj7)

D 7 B –7

E–7( 5)

V7/II–7

Subdominant

II–7

D–7

Alias

A7( 9)

E 7

Harmonic Universe in C Melodic Minor

V7/ III+(Maj7)

F–7( 5)

Secondary dominants, their substitutes, and related II–7s

B–7

III+(Maj7)

Tonic

Minor

E +(Maj7)

Alias

B 7( 9)

E7

SUBDOMINANT

D –7

G–7( 5)

V7/IV7

7th

IV7

C7( 9)

F7

G 7 E –7

A–7( 5)

DOMINANT

V7/V7

7th

V7

G7

D7( 9)

A 7

B–7( 5)

V7/VI–7( 5)

F–7

VI–7( 5)

Tonic

A–7( 5)

E7( 9)

Alias

B 7 G–7

C –7( 5)

V7/VII–7( 5)

Dominant

VII–7( 5)

Alias

F 7( 9)

B–7( 5)

C7