82 Royalty-Free Audio Tracks for "Secondary Dominant"

Subtonic as secondary dominant to the mediant in minor from Brahms Op.76.7, Eight Pieces, for piano (1878).

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).

V of V chord progression in "Sweet Georgia Brown". V/V/V-V/V-V-I: A-D-G-C. Note that the tempo is kept but the number of measures is cut in half.

Secondary leading tone in Beethoven Sonata in C for piano Op. 53, first movement.

Excerpt from Mendelssohn's Op. 102, No. 3, mm. 47-49. Original work is public domain, image by the uploader.

Secondary dominants in Beethoven's Op. 14 No. 2, mov. II, mm.16-19.

The secondary dominant chords of the key of C major, each given before the chord of which it is the dominant. Digital recording, made with an acoustic piano and Wavesurfer software by Opus33. This music is in the public domain. The recording is not copyrighted, and it is hereby released by Opus33 into the public domain. The following tag, though it is not quite accurate, is included in order to authorize this file according to the Wikipedia rules:

ii-V substitution.

Extended dominants/successive secondary dominants in Chopin's Op. 26, no. 1, mm.62-63. V/ii = V/V/V, V/vi = V/V/V/V.

Sequential modulation through the circle of fifths in Haydn, Quartet Op. 3, No. 3, IV, Hob.III:15 (now considered spurious, perhaps by Roman Hoffstetter).

Picardy third in Bach - BWV 81.7, mm. 12-13. Created by Hyacinth (talk) 00:21, 13 July 2011 (UTC) using Sibelius 5.

Chords with a primary or secondary dominant function.

Secondary chords in Maria Wolowska Szymanowska's Nocturne in B-flat Major, mm.1-5.

An example of how the subtonic serves as a secondary dominant to the mediant (in A minor: G is the dominant of C). From Bach's Chorale Ach wie flüchtig, ach wie nichtig, BWV 26. It is a reduction of the opening of the "Choral" or sixth movement.

Subdominant parallel in C major. Created by Hyacinth (talk) 04:21, 1 May 2010 using Sibelius 5.

Dominant seventh tritone resolution chords, As MIDI

Dominant seventh in Monteverdi's "Lasciatemi Morire" ("Oh, Let Me Die"), Lamento_d'Arianna. Created by Hyacinth (talk) 09:44, 12 January 2012 (UTC) using Sibelius 5.

Dominant seventh with root doubled and missing fifth resolving to I, in C.

Secondary supertonic chord: ii7/V - V/V [- V] in C major (a7 - D7 [- G]). Created by Hyacinth (talk) 15:14, 18 July 2010 using Sibelius 5.

Dominant form chord: Diminished seventh leading-tone chord preceding tonic chord and possessing a secondary dominant function.

viio/V - V - I chord progression. Common in ragtime.

Secondary chords in Mozart K 475.

Dominant seventh in C in first inversion

Dominant seventh chord on C, played on guitar in open position.

Dominant seventh chord on C, played on guitar, barre chord.

Secondary leading-tone chord from Purcell's Z. 669, III, mm. 9-13.

Extended dominant relationship in Schubert's German Dance, D. 643, opening.

Secondary half-diminished leading-tone chord in Brahms Op. 119, no. 3, mm.49-51.

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

Dominant seventh flat five chord on C - As MIDI

Primay triads in c, as MIDI

Dominant seventh chord (V7) in C, G7.

Dominant ninth chord on C.

Dominant eleventh without third.

Chord progression with diminished seventh chords added.

Dominant ninth chord in fourth inversion: G,A,C,E♭,F. It then resolves to I: B♭, D, F.

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

Primary triad in C in just intonation. Created by Hyacinth (talk) 11:17, 22 December 2011 (UTC) using Sibelius 5.

Dominant eleventh on F in fifth inversion: B♭CE♭FGA. V11 resolves to I.

Dominant thirteenth chord (V13) in F major (C E G B♭ D).

Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.

Jacob Hintze: Kanon In te, Domine, speravi: non confundar in aeternum (Schlussvers des Te Deum)

Viennese trichord as dominant. Created by Hyacinth (talk) 21:31, 4 July 2010 using Sibelius 5.

Dominant form chord: Dominant flat ninth chord preceding tonic chord and possessing a primary dominant function.

Dominant thirteenth on F in sixth inversion: DE♭FGAB♭C. V13 resolves to I6.

Dominant seventh on F in third inversion. Created by Hyacinth (talk) using Sibelius 5. See: File:Dominant seventh on F in third inversion.png

Dominant seventh flat nine chord on C - As MIDI

VI7 in C minor. Created by Hyacinth (talk) 15:26, 2 July 2011 (UTC) using Sibelius 5.

Dominant seventh chord on G: G B D F. In root position, 1st inversion, 2nd inversion, and third inversion, then at the octave in root position.

Dominant seventh in Beethoven's Fifth Symphony, last movement.