Secondary Dominant Chord Scales

the key in the bass, produces an Aeolian chord scale; the b 6th degree is
Aeolian A diatonic melody accompanied by a VI– chord, or by the 6th degree of

avoided. A VI– chord can have 9 and/or 11 in the melody or added as ten-
sions to a voicing.

## w w œ w w
& w w w
1 T9 b 3 T11 5 S b 6 b7 1

Locrian A diatonic melody accompanied by a VII–7 b 5 chord, or by the 7th degree

avoided. A VII–7 b 5 chord can have 11 and/or b13 in the melody or added
of the key in the bass, produces a Locrian chord scale; the 2nd degree is

as tensions to a voicing.

# w w w w w
œ w
& # w
1 S b2 b3 T11 b5 T b13 b7 1

Secondary Dominant Chord Scales

Chord Scales for secondary dominants typically reflect their diatonic

context, for example:
C # 7 F # –7
### j œ œœœœ œœ w œ œ œ.
œ œ œ
A B7 E7sus4

˙ œ. Œ œ œ.
& œ œ J J
? # # # ww # www
w
N ww
w
# www wwww
etc.

w w
In a major key, secondary dominants create a strong expectation of
resolution, with root motion down a perfect fifth (or up a perfect fourth)
to a diatonic chord. Therefore, the chord scale for a secondary dominant
will contain the chord tones of the dominant chord and tensions that are
diatonic to the key. The result, in all cases, will be some form of Mixolyd-
ian scale. Minor key is somewhat more complex, but these basic elements
remain the same. Minor key secondary dominants will be discussed in
Part 2.

The avoid note rule for secondary dominants is simple: avoid scale

diatonic tensions are available, whether 9, b9 or # 9, 13 or b13.

tone 4. (It is the root of the expected chord of resolution.) All other

 harmony 3