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Secondary dominant (also applied dominant, artificial dominant, or borrowed dominant) is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period. It refers to a dominant seventh chord set to resolve to a degree that is not the tonic, with V7/V, the dominant of the dominant being the most frequently encountered.〔Kostka, Stefan and Dorothy Payne (2003). ''Tonal Harmony'', p.250. McGraw-Hill. ISBN 0-07-285260-7.〕 The chord a secondary dominant progresses to can be thought of as a briefly tonicized chord—or pitch (tonicizations longer than a phrase can be looked at as modulations). "The purpose of the secondary dominant is to place emphasis on a chord within the diatonic progression."〔Beach, David and McClelland, Ryan C. (2012). ''Analysis of 18th- and 19th-century Musical Works in the Classical Tradition'', p.32. Routledge. ISBN 9780415806657.〕 "Functioning secondary dominants are used when a composer wants to inject a greater feeling of movement into a diatonic progression."〔Wyatt, Keith; Schroeder, Carl; and Joe, Elliott (2005). ''Ear Training for the Contemporary Musician'', p.87. Hal Leonard. ISBN 9780793581931.〕 The secondary-dominant terminology is still usually applied even if the chord resolution is nonfunctional (for example if V/ii is not followed by ii).〔Rawlins, Robert and Nor Eddine Bahha (2005). ''Jazzology: The Encyclopedia of Jazz Theory for All Musicians'', p.59. ISBN 0-634-08678-2.〕 ==Definition and notation== The major scale contains seven basic chords, designated with Roman numerals in ascending order. Since the chord on the seventh scale degree is a diminished triad, it is not considered stable, and so only the other six chords may be treated at temporary tonic chords, and so be eligible for an applied dominant. In the key of C major, those six chords are: Of these chords, V (G major) is said to be the dominant of C major (the dominant of any key is the chord whose root is a fifth above the tonic). However, each of the chords from ii through vi also has its own dominant. For example, vi (A minor) has an E major triad as its dominant. These extra dominant chords are not part of the key of C major as such because they include notes that are not part of the C major scale. Instead, they are the secondary dominants. Below is an illustration of the secondary-dominant chords for C major. Each chord is accompanied by its standard number in harmonic notation. In this notation, a secondary dominant is usually labeled with the formula "V of ..."; thus "V of ii" stands for the dominant of the ii chord, "V of iii" for the dominant of iii, and so on. A shorter notation, used below, is "V/ii", "V/iii", etc. The secondary dominants are connected with lines to their corresponding tonic chords. Note that of the above, V/IV is the same as I. However, as explained below, they are significantly different. Like most chords, secondary dominants can be classified by whether they contain certain additional notes outside the basic triad; for details, see Figured bass. A dominant seventh chord (notation: V7) is one that contains the note that is a minor seventh above the root, and a dominant-ninth chord (notation: V9) contains the note a ninth above the root. For instance, V7/IV, although it is a C chord, is distinct from regular C major because it also contains the note B flat, which is a minor seventh above the root of C, and not part of the C-major scale. To illustrate, here are the secondary dominants of C major, given as dominant-seventh chords. They are shown leading into their respective tonics, as given in the second inversion. Chromatic mediants, for example VI is also a secondary dominant of ii (V/ii) and III is V/vi, are distinguished from secondary dominants with context and analysis revealing the distinction.〔Benward & Saker (2003), p.201-204.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「secondary dominant」の詳細全文を読む スポンサード リンク
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