![]() Secondary dominant chords are chords that have roots that are a 5 th away from the chord they tonicize, and they serve a dominant function. That means that secondary dominant chords, which don’t belong in the key, make chords that do belong in the key sound stronger. Tonicizing means to make a chord sound stronger than it ordinarily would be in its solely diatonic context. There are different ways to use what are called secondary functions to do what’s called tonicize a diatonic chord. There are different ways to borrow chords for different effects. There are different ways to change keys: some are subtle, some are sudden and dramatic. Studying chromatic harmony in a more traditional way gives you a way to organize all of the different types of chromatic harmony and the effects they each have on listeners. There are pretty infinite options for this, but some common chromatic chords that are used while you’re in the key of A major are B dominant 7 that leads to E major, B♭ major, and D minor. For example, if you’re in the key of A major, the diatonic chords are: A major, B minor, C♯ minor, D major, E major, F♯ minor, and G♯ diminished.Ĭhromatic harmony, on the other hand, refers to any chords that are not part of the key you’re in. ![]() Diatonic harmony refers to only the chords that are part of the key you’re in. Under the topic of harmony, there are two large categories: diatonic and chromatic. ![]() Secondary dominant chords fall into a larger category of harmony called chromatic harmony.
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