Substitute Dominants, Related IIs, and Extended Substitute Dominants

Introduction

In this lesson we will exploring substitute dominant chords. These are interesting chromatic chords that can really add more flavor to a harmony. Substitute dominants are also known as "subVs" here at Berklee. We'll looking at subVs from a jazz and contemporary perspective to see how they can be used. In our Composers on Composing section, we'll be talking to Richard Boulanger, Ayn Inserto, and Michael Sweet.

Objectives

By the end of the lesson, you will be able to:

The Slippery Slope: The Substitute Dominant Chord

Same but Different

There are many things in our lives that are similar, yet different. A green and a red tomato are both tomatoes but they taste different. A generic drug acts the same way as its brand name original, but it's less expensive. An artificial hip works like a normal hip but it's made from synthetic materials. Ingredients in cooking can also be substituted. The chart below shows healthier substitutes for frequently used cooking ingredients.

In music, substitute dominant chords take the place of a dominant chord and function in the same way. Substitute dominant chords aren't any healthier than regular dominant chords, but they will give your music a different flavor.

Creating Substitute Dominant Chords

Tritone Resolution of the V7 Chord

The diatonic dominant 7^th chord in major-key harmony is the V7 chord (dominant). As you have learned, it has a tendency to resolve to the I chord (tonic). This tendency is caused by a few factors. The first factor is the resolution of the tritone found between the 3^rd and 7^th of the dominant chord. The 3^rd (Ti) has a tendency to resolve to Do, and the 7^th (Fa) has a tendency to resolve to Mi. In Example 1, the 3^rd of the V7 chord resolves upwards to the tonic and the 7^th of the V7 chord resolves downwards to the 3^rd of the tonic (I) chord. The 5^ths have been omitted in Example 1.

Example 1.

Downwards Root Motion by Perfect 5^th

Another powerful force that creates a pull towards the tonic is the root movement. Downwards root motion by a perfect 5^th is very strong (see Example 2). This motion combined with the tritone resolution creates the strong pull towards tonic.

Example 2.

G7 and D7 Shared Notes

Interestingly, the 3^rd and 7^th of every dominant 7^th chord are shared with another dominant 7^th chord. In these relationships, the 3^rd of the first dominant 7^th chord is the 7^th of the second dominant 7^th chord, and the 7^th of the first dominant 7^th chord is the 3^rd of the second dominant 7^th chord. The root of the dominant 7^th chord that shares the two notes is a tritone away from the root of the original dominant 7^th chord. You may feel like you need to re-read those last few sentences over again, but taking a look at Example 3 will be helpful. Here you can see that the B (3^rd) and F (7^th) of the G7 chord are also the 7^th and 3^rd of a D7 chord. However, the B is spelled enharmonically as a C

Example 3.

I-IV-V7-I Progression

Example 4 is a short progression that closes with a V7 to I cadence. Notice the resolution of the V7 chord.

Example 4.

SubV to Tonic

Example 5 substitutes a D7 chord for the V7 chord. The bass descends by a half step to the tonic and tritone (F to C) resolves similarly to the G7 chord. Carefully listen and compare the two.

Example 5.

Substitute dominants add another degree of chromaticism to music and, like appropriate substitute ingredients in cooking, can add interesting new flavors to your compositions.

Substitute Dominants in Action

Tower of Power

Listen to and look at the two-bar intro and first verse of "Come Back Baby" by Tower of Power.

Tower of Power. "Come Back Baby," from Urban Renewal. (Warner Bros./1993).

The first verse of "Come Back Baby" begins in bar 3 with a Imaj7 chord and continues with a VI-7 followed by a II-7 chord. The most logical practice—especially in strictly diatonic harmony—would be to use a V7 chord (E7) to return to the Imaj7 chord in bar 7. However, a B7 chord is used to complete the phrase and return to the Imaj7 chord. This is a very typical example of a substitute dominant being used in place of the diatonic dominant chord. The subV7 resolves neatly to the tonic chord and the ear hears it as having a similar function while adding some chromatic spice to the progression.

Substitute Dominant SubV Possibilities

As you learned in Theory and Composition 2 and reviewed in lesson 1 of this course, there are also secondary dominant chords. The same substitution principle applies to secondary dominant chords. Substitute dominant chords can also replace secondary dominant chords.

The following examples illustrate the secondary dominant subV possibilities.

Example 7. V7/II and SubV/II

The subV/III can sometimes be confusing because it is the only major-key substitute dominant chord with a diatonic root and it is often found as a IV7 chord in the blues. Furthermore, in its triadic form, it is the subdominant chord.

Due to these considerations, the chord would ordinarily be subdominant in function unless it is interpolated (inserted) between the secondary dominant V7/III and III-. Only then would it be labeled and understood as a subV/III. As a subV/III it is most often found in short rhythmic duration.

Example 8. V7/III and Interpolated SubV/III

Example 9. V7/IV and SubV/IV

Example 10. V7/V and SubV/V

The subV/VI is the VII7 chord in a major key and is a modal interchange chord from the parallel minor. Therefore, like the subV/III, it functions most clearly when it is of a short duration and when it is interpolated between a V7/VI and the VI- chord. Only in this case would it be analyzed as subV7/VI.

Example 11. V7/VI and Interpolated SubV/VI

As you can see, the non-diatonic harmonic possibilities begin to get even richer!

Paquito D’Rivera’s “Brussels in the Rain”

Paquito D’Rivera

Let's look and listen to Paquito D'Rivera's "Brussels in the Rain."

This beautiful song employs many of the harmonic concepts we've studied so far.

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The tune begins with the by-now-familiar and solid I-VI-II-V7 progression. The harmonic rhythm moves by the half note (two chords for each bar of 4/4).

The diatonic progression is first spiced with the addition of the 9 on the V7 chord signaling more spice to come.

In the third bar an F7 chord appears. In a blues-based song we might consider this a IV7 chord, however, the F7 resolves to chromatically downward to an E-7 (the III-7 chord) so we may hear it as a subV7/III with the F7 substituting for a B7 (V7/III). Had the F7 been interpolated between a B7 and the E-7, it would be even clearer in function.

The chromaticism continues in bar with an V7/II [A7(9)] that moves to the II-7 chord.

In bar seven the rich harmony continues with a V7/V that resolves to the V7 by way of V's related II-7 chord (D-7).

The harmony of the first eight bars is then nearly repeated until we arrive at bar 16 where a B7 chord (subV7/VI) leads to an A7 (V7/II) instead of the expected VI- chord. The root is the same, but the quality and function is different.

The eight-bar phrase is extended to 10 bars with a II7-V7 that resolves deceptively to ♭VImaj7, a modal interchange chord.

In this short example we can find diatonic harmony, modal interchange (borrowed chords), secondary dominants, and substitute dominants. The harmonic and melodic chromaticism gives a richness and interest to the music.

Workshop: Substitute Dominant Chord Analysis

Here are two exercises practicing substitute dominant chords:

1. Let's practice creating substitute dominant chords. Name and construct the substitute dominant for the chords below. Remember to build the substitute dominant chord a tritone away from the regular dominant chord's root. Sometimes, the chord root of a tritone away will be a double flat. In that case, and also for F and C, the chord will usually be spelled as its enharmonic equivalent. For example: F = E and B = A. For practice, try spelling the chords both ways when applicable.

Download Substitute Dominant Chord Analysis (PDF)

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Blended Families: Substitute Dominants and Their Related II Chords

Relatives in a Human Family

In Music Theory and Composition 2, secondary dominants and their related II chords were presented as being similar to relatives in a human family. The core family is similar to diatonic harmony, and the secondary dominants and their related II chords are analogous to relatives. Substitute dominants are just a bit further removed from the diatonic chords. Perhaps these chords can be seen as part of a blended family, especially when they are coupled with their related II chords.

Related II Chords of Secondary Dominant Chords Review

As you've learned, each major key has five secondary dominant chords (V7/II, V7/III, V7/IV, V7/V, and V7/VI), each with a related II chord. And, the root of the related II chords for secondary dominants, except the related II for V7/III, is built on a diatonic note. Let's review the related II chords of secondary dominant chords.

Example 1. V7/II with Its Related II Chord

Example 2. V7/III with Its Related II Chord

Example 3. V7/IV with Its Related II Chord

Example 4. V7/V with Its Related II Chord

Example 5. V7/VI with Its Related II Chord

Note that each of the examples above uses a minor 7^th chord as the related II chord. The secondary dominants sometimes can also be paired with minor 7(5) chords as related II chords.

SubVs of Dominants and Their Related II Chords

Each major key has six substitute dominant chords (subVs): a subV for each of the secondary dominants, plus a subV for the primary dominant. In Music Theory and Composition 2 you learned that the root of a secondary dominant's related II chord is a perfect 5^th above the secondary dominant's root. This relationship is shown through the solid line bracket connecting the two chords.

SubV Chord Types and Its Related II Chord

Some of the subVs also have a related II chord. For those chords the subV's related II chord is also a perfect 5^th above its root. The subV's related II chords function similarly to subdominant (II-7) to dominant (V7) pairings in diatonic harmony.

For analysis, the relationship between the subV and its related II chord is also indicated by a bracket. The subV resolving down a half step is indicated by a dotted line and arrow instead of the solid line and arrow that shows root movement by perfect 5^th.

Example 6. SubV and Its Related II Chord

Example 7. SubV/II and Its Related II Chord

However, not all of the subV chords have a related II chord. This is because some of the potential related II chords already have a diatonic function. In C major, the potential related II chord of subV/III (F7) is C-7. C-7 is a modal interchange chord borrowed from the parallel minor and will be heard functioning as a I-7 chord.

In C major, SubV/VI is B7 with a potential related II chord of F-7. F-7 is also a modal interchange chord borrowed from parallel minor and will be heard functioning as a IV-7 chord. Therefore it is not analysed as a related II chord.

SubV/IV (G7 in C major) has a non-diatonic related II chord D-7. Since D-7 does not have a conflicting function, its related II function is indicated by a solid-lined bracket.

Example 8. SubV7/IV and Its Related II Chord

SubV/V also has a non-diatonic related II chord.

Example 9. SubV7/V and Its Related II Chord

You may have noticed that all of the subV related II chords that are analyzed as such have non-diatonic roots (A, B, D, and E in C major).

Further Relationships of SubVs and Related II Chords

Many families grow through marriage and children. Thus, more connections are added to the family tree. Someone's sister could be another person's cousin or mother. Someone's father could be another person's uncle. The people themselves don't change, but their relationship to one another may have a different name.

Family Tree

Chords in harmony can also have different relationships. A C major chord will be tonic in the key of C, sub-dominant in the key of G, and dominant in the key of F. Same chord, three different functions. Up to this point in Theory and Composition 1, 2, and 3, the major-key family harmonic tree has diatonic chords, borrowed chords, secondary dominant chords, substitute dominant chords, and related II chords of substitute dominant chords.

SubV Chord Types with Chromatically Related II Chords

Let's look at another relationship between subVs and related IIs. Let's begin with the related II chord of the secondary dominant chord and follow that chord with a subV. A new relationship is now created. The related II chord moves down a half step to the subV, which then resolves down by a half step to its target. This new relationship between the II chord and the subV is shown with a dotted bracket. As before, the dotted line with an arrow shows the substitute dominant function of the subV.

Example 10. SubV with Chromatically Related II Chord

Example 11. SubV/II with Its Chromatically Related II Chord

Example 12. SubV/III with Its Chromatically Related II Chord

Example 13. SubV/IV with Its Chromatically Related II Chord

Example 14. SubV/V with Its Chromatically Related II Chord

Example 15. SubV/VI with Its Chromatically Related II Chord

Related II Chord of SubV Moving to V7

Our secondary dominant, substitute dominant, and related II chord family is nearly complete. One more relationship remains. The related II chord of a substitute dominant may be paired with a dominant. Although this is an unusual relationship, it can be found in some music.

Example 16 shows the related II chord of subV moving to a the V7 then resolving to tonic. This relationship can also occur with other subV related II chords.

Example 16. Related II Chord of SubV Moving to V7

“Moon River” Analysis

Carolyn Leonhart's arrangement of composer Henry Mancini's and lyricist Johnny Mercer's "Moon River" (below) features a number of secondary dominants and their related II chords. There are also a few subVs and one instance of a subV with its related II chord. Study the score carefully and listen how the related II chords enrich the harmony of the arrangement of this wonderful American standard that won an Academy Award in 1961 as Best Original Song from the movie Breakfast at Tiffany's.

Carolyn Leonhart. "Moon River," from New 8th Day. (Sunny Side/2005).

Workshop: Substitute Dominants and Their Related II Chords

Complete the Roman numeral analysis for the example below. Remember to put in the appropriate brackets and arrows.

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Download Substitute Dominants and Their Related II Chords Workshop (PDF)

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Laying It Out: Chord Scales for Extended Dominants and Related IIs

Chord scales are incredibly helpful mnemonic devices for composers. Memorizing the correct chord scales for each of the harmonic phenomena in this course will help you to remember the appropriate tensions for each musical situation. As your knowledge in this area increases you will begin to see more and more musical connections!

Deriving Chord Scales for Substitute Dominants

Understanding how to derive the tensions for substitute dominants is a little more complex than the process for secondary dominants. With secondary dominants, the tensions are all notes derived from the scale of the key of the piece. But in order to understand substitute dominant chord scales we need to look to the V7 chord and find its most chromatically altered form.

As we have learned, the diatonic V7 chord (with or without tensions 9 and 13) creates an expectation of resolution to the I chord.

V7 to I:

By chromatically altering the tensions of the V7 we can increase that expectation. By adding 9, 13, and 9 to a voicing and also lowering the 5^th of the chord a half step (5), we can create an enormously dissonant chord that maintains its functional identity in the key and begs to resolve to I. Notice the great number of half-step tendency tones in the example below.

V7alt to IMaj7:

If we express this chord as a scale, the result is called the altered dominant scale.

Altered Dominant Chord Scale:

The altered dominant scale is our source because it contains both the essential notes of the primary dominant as well as the notes of the substitute dominant. The D (5) is the root of the subV, F (7) is its 3rd, the A (9) its 5^th, and scale degree 3 is an enharmonically spelled C–the subV's 7: 1–D, 3–F, 5–A, 7–C.

When reordered from 5, the root of the substitute dominant, the altered scale takes on a new identity: we call it Lydian 7, a Lydian scale with a lowered 7th. The Lydian 7 scale is the principal chord scale for all of the substitute dominants, both primary and secondary.

This chord scale provides us with a diatonic tension 11 (the root of the primary dominant) and tensions 9 and 13 are available as well.

D Lydian 7 the Chord Scale for SubV in the Key of C:

The substitute dominant is usually preceded by the II-7 chord. This creates a progression that starts in the key, then dips out of the key and then back in to the key. In the example below you can see the linear chromatic motion that occurs in the progression from II-7 to subV7 to IMaj7.

II-7 SubV7 IMaj7:

When the harmony is limited only to triads (or 7^th chords for that matter) the subV's "out-ness" can be really obvious to the ear. Particularly when the root or 5^th of each chord is in the melody. Voicing the 3^rd in the lead (soprano voice) of each chord helps to soften this effect.

In thicker harmonic textures that include tensions in the voicings, certain tensions (particularly the 11) help to create a little "sonic glue" that helps to relate the subV to the chords around it causing it to sound less jarring.

II-7 SubV IMaj7 with Tensions:

The following are all secondary subVs preceded by the related II a half step above and resolving to the expected goal chord. In each case the subV has been voiced with tensions from the Lydian 7 chord scale–T9 substitutes for the redundant root and either T13 or T11 (but not both) for the expendable perfect 5^th of the chord.

SubV of VI:

SubV of III:

SubV of II:

SubV of IV:

SubV of V:

Notice how in each of the examples the non-diatonic tensions have a tendency to move down chromatically by a half step while the diatonic tensions are tones common to the chord of resolution.

For substitute dominants that resolve to a target chord that has a major 3^rd (i.e. I, IV, and V7) another option is possible. The Lydian 7 (9) scale provides another diatonic tension that will help to bind the subV to the tonality.

D Lydian 7 (9) Optional Chord Scale for SubV in the Key of C:

In this scale the T9 replaces T9. Tension 9 can provide another diatonic link when voicing subV/I, subV/IV, and subV/V.

SubV voiced with T9:

Duke Ellington’s “Satin Doll”

Another progression involving substitute dominants can occur when a subV is prepared by the related II chord a perfect 5^th above. The final cadence of Duke Ellington's "Satin Doll" contains this progression. Notice how the progression A-7, D7, A-7, D7 creates an exact harmonic sequence.

"Satin Doll" Final Cadence:

In this situation the subV is usually expressed as a Mixolydian chord scale and its related II-7 by a Dorian chord scale. This helps to emphasize the sequential nature of the progression.

Watch the full arrangement of "Satin Doll" and listen for the how the final cadence is set up:

Summary

Workshop: Chord Scales of Substitute Dominants

For this workshop you will:

• Download Chord Scales of Substitute Dominants (PDF)

• Write the chord scale for each of the substitute dominants indicated

• Pay attention to the key signature

• Name each scale and label each note as in the example answer

• Check your answers against the answer key provided

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Riding the Express Train: Extended Substitute Dominants

Just as substitute dominants can stand in for both the primary and secondary dominants in a key, the extended dominant series can also be reconstituted using tritone substitutions. In this lesson we'll look at the harmony of the bridge to Gershwin's "I Got Rhythm" and rework the chord progression in a number of new ways employing extended dominants, extended substitute dominants, and related II chords. In the workshop section we'll practice voice leading these progressions in four and five parts and describe these largely non-functional progressive patterns with our special graphic system of brackets, dashed brackets, arrows, dashed arrows, and parentheses.

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Extended Dominants Series Using Extended SubVs

In lesson 2 of this course we encountered the extended dominant series in Gershwin's tune "I Got Rhythm."

Rhythm Changes Bridge:

As you'll recall, the extended dominant series in the B section, or bridge of the tune, acts like a backward extension of the sound of V7/V to V7 to I. Each dominant chord that precedes the secondary dominant is another level removed from the final goal chord. Please notice that in the example above, each chord has been voiced with the appropriate tensions from the Mixolydian chord scale for each extended dominant.

Rhythm Changes in 5^th with 1/2 Steps

An extended dominant series starting on scale degree 3 can also make its way back to the tonic of the key descending by a half step rather than a perfect 5^th.

Extended Substitute Dominant Series:

You'll note that in the above example each of the chords of the extended substitute dominant series has been voiced with tensions 9 and 11 from the Lydian 7 chord scale. The tension 11 in particular can alert the experienced listener's ear to the expectation of resolution to the next chord by descending a half step.

Interpolated SubVs

Another possible reharmonization of the "Rhythm Changes" bridge doubles the harmonic rhythm, interpolating a substitute extended dominant every other measure.

Rhythm Changes Interpolated SubVs:

Since any dominant function chord can be preceded by its related II, the Rhythm Changes bridge can have even more harmonic variation. First, here's the original Cycle 5 extended dominant series in which each chord is preceded by its related II.

Rhythm Changes with Interpolated IIs:

Extended SubVs with Related IIs

Now let's do the same with the extended substitute dominant series.

Rhythm Changes with Extended Substitute Dominants and Interpolated IIs:

You'll notice that in this last example that the extended substitute dominants are not voiced with tension 11. You'll recall from earlier that when preceded by the minor 7^th chord a perfect 5^th above (the related II), the correct chord scale for a substitute dominant is Mixolydian (T9 and 13). This helps to emphasize the exact sequential nature of the harmonic progression. You'll recall from earlier lessons about the extended dominant series the analogy of riding the express train: passing through local stations without stopping, while anticipating the train's eventual arrival at the final destination. In this progression it is as though we are descending through the keys of G, G, F, and E without actually stopping on those tonics. We finally arrive on B!

"Ask Me Now's" Use of Extended Dominant Series

Countless jazz tunes have been written on the chord changes of "I Got Rhythm": "Anthropology" by Charlie Parker; "Rhythm'ning" by Thelonius Monk; and "Oleo" by Sonny Rollins, just to name a few of the most famous. Composers have used these and other harmonic variations of the bridge to put their own personal stamp on a common idiom.

"Ask Me Now"

Founding father of the bebop style, pianist and composer Thelonious Monk was very fond of the extended dominant series in his compositions. In his tune "Ask Me Now" he employs the extended substitute dominant series in the A section of the tune. Notice in the first three measures how each substitute extended dominant is preceded by its related II chord. After the A7 chord in measure 3, the harmony moves deceptivley to F7 and starts another series that mixes both dominant and substitute dominant chords!

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Final A Section of "Ask Me Now" by Thelonious Monk

While we eventually come to understand that the tune is in the key of D major, the non-functional sound of the series of extended subtitute dominant chords keeps the listener guessing as to when the tonic might actually arrive. Nevertheless, we are inexorably drawn to expect that goal because of the sequential harmonic pattern created by the chromatically descending II-Vs!

The extended dominant series and its variations involving substitute dominants and related II chords are more harmonic tools at the composer's disposal to express speed, forward motion, excitement, and expectation!

Workshop: Extended Substitute Dominant Chord Analysis

Download the Workshop PDF and follow the instructions. You'll be asked to identify chord progressions from a piano score that contain substitute dominants, extended substitute dominants, as well as other harmonies that we have studied. You'll analyze the progressions and practice voice leading them as well. Check your answers against the answer key provided.

Download Extended Substitute Dominant Chord Analysis (PDF)

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Composers on Composing: Interviews with Composers about Music Theory and Creativity

This week, in lesson 3, three more composers share their thoughts on composition and answer the following question:

How does music theory and history inform your compositions?

Composers interviewed in week 3:

Recap

In this lesson, you have learned how to:

In the next lesson, we will learning about augmented 6^th chords, advanced figured bass, and four-part voice leading.