Lullaby: A work in progress...

Today I'm going to post a small portion of a song I'm working on, so we can analyze its chord progression and discuss the lyrics. Who knows, it might compel me to finish it one of these days...

Anyway, here are the lyrics:

If you are near me and by my side

We'll shut out the cold and turn off the light 

so rest your head and close your eyes 

and I'll sing to you this lullaby 

The sun has faded from the sky

the moon is here to say goodnight 

But slow your heart its not goodbye

I'm right here now everything is all right

I'll never leave you in the dark 

if you need a light I will be your spark

till the light returns in the morn

I'll be right here to keep you safe and warm 

Now the time has come for you to go 

back inside your head where the dreams will glow 

and will light the world we soon will know 

with those dreams you had so long ago

Currently the form of this song is strophic, meaning that it consists of only verses. I used this form because I want the focus of the song to be in the dynamics in each verse, not the distinction between the verses and a possible chorus. This song is written in simple quadruple time.

Next let's look at the chord progressions used in the song: Key Signature: G Major

C       D/F#    G

C       D         G

C       B        Em

C       D         G

Using chord symbols:

IV    V       I

IV    V       I

IV    V/Vi    Vi

IV    V       I

So there's a lot of focus on the IV chord as it starts out each phrase, and each phrase is resolved with a V to I cadence. However, the interesting event occurs in the third part of the verse with the V/Vi chord. Note that B major is not in the key of G Major, and it is a secondary dominant to the Vi chord (Em). This gives the phrase stronger "pull" to the end of the line, and allows more emphasis to be placed on the lyrics in that section.

Alright, I'll post more original songs in the future, but this was meant to give an example of how secondary dominant chords can be used in a piece to provide an interesting variation to a similar chord progression.

Thanks for reading!

Sincerely, ZS

Borrowed Chords and Secondary Dominants: The Secret Ingredients of Chord Progressions

In the last post we discussed the concept of chord progressions and how the individual chords in the sequence are related to each other. Today I want to talk about chords in a progression that fall outside the standard key signature of the piece, particularly borrowed chords and secondary dominants.

A borrowed chord, is a chord in a progression that is taken from the parallel key (the minor or major scale with the same tonic). An example of a parallel key would be (Cmin) in relation to (Cmaj). Both scales in their respective keys start with (C), hence (C) is the tonic of both keys, making them parallel in structure. A piece of music using borrowed chords uses this parallel structure to provide variety and a different "feel" to the song. For example, the song "Happy Together" by the Turtles uses borrowed chords to change the song from major to minor between the chorus and the verse. Listen to the song below and see if you can hear the spots in which chords are taken out of the original key:

The next concept I want to talk about is that of secondary dominants. As we know from a previous post, the dominant of key is the fifth triad above the tonic. So if we are in the key of C major, the dominant triad is G major. As discussed in last weeks post there is a very strong relationship between the dominant and the tonic, so much so that many cadences (chord progressions that bring about the end of a musical phrase) are centered around them. So we know what the "dominant" is, but what does the "secondary"part mean? Let's look at an example of a chord progression that uses a secondary dominant to see if we can find out. 

I apologize for the poor quality of the picture, but this is a perfect example of a secondary dominant chord used in the key of C Major. Here we see that the piece starts on the tonic (C), then goes to the subdominant or the Four Chord (F). After the four chord however, something happens that gives us a D Major chord before going to the dominant (G) and resolving with the tonic (C). What is going on? 

This is what is known as a secondary dominant. As defined it is the use of the dominant "of the dominant" of the set key. So if the set key in this case is (C major) the dominant is (G major) and the dominant of that is (D Major). If you have a piano this relationship can be seen my going up two fifth intervals from C. (C --> G --> D). In the key of G major the dominant is D Major (because in G major the F is sharp) and this gives us a chord that is taken outside of its original key but is related to the dominant of the key the piece is played in. 

Secondary dominants can be used in different ways throughout music, and it does not always have to be the dominant of the dominant. You can have a secondary dominant that is based off the (ii) chord in a piece, such as what is used in "Tears of Heaven" by Eric Clapton, or one that is taken from the (Vi) chord as in "Yesterday" by the Beatles. Here is an example of a chord progression that implements secondary dominance:   

In a couple days I will post a follow-up post that has a couple more examples of borrowed chords and secondary dominants, as this was meant to be an introduction to the concept. If you have any comments or questions then please post below, but other than that thank you for reading!

-Sincerely, ZS