Guitar · substitutions # Secondary dominants on guitar A minor seventh that falls a fifth to the next chord can be made a dominant: VI7 for vi before ii. Its new major 3rd is the leading tone of the chord it resolves to, so it pulls into it harder. | I–vi–ii–V (1625) in B♭ | Chords | | --- | --- | | As written | B♭maj7 – Gm7 – Cm7 – F7 | | Secondary dominants | B♭maj7 – G7 – Cm7 – F7 | ### As written Four notes on four neighboring strings, the second voice from the top dropped an octave. The voices move 5 semitones in all; the largest single step is 2. Notes that moved from the chord before are in the darker color. **B♭maj7 (I)** Grip x-x-8-10-10-10 · frets 8–10 **Gm9 (vi)** Grip x-x-8-10-10-10 · frets 8–10 Voiced: ♭3 ♭7 9 5 **Cm7(11) (ii)** Grip x-x-10-10-11-11 · frets 10–11 Voiced: 1 11 ♭7 ♭3 **F7 (V)** Grip x-x-10-10-10-11 · frets 10–11 Top line: D – D – E♭ – E♭ [Practice I–vi–ii–V (1625) in B♭ as written](https://practice.graph.audio/#progression=turnaround:10:drop2:4:jazz) ### With the secondary dominants Four notes on four neighboring strings, the second voice from the top dropped an octave. The voices move 12 semitones in all; the largest single step is 3. Notes that moved from the chord before are in the darker color. **B♭6/9 (I)** Grip x-x-8-7-8-8 · frets 7–8 Voiced: 1 3 6 9 **G7 (secondary-dominant)** Grip x-x-9-10-8-10 · frets 8–10 **Cm7 (ii)** Grip x-x-8-8-8-8 · fret 8 **F9 (V)** Grip x-x-7-8-8-8 · frets 7–8 Voiced: 3 ♭7 9 5 Top line: C – D – C – C [Practice I–vi–ii–V (1625) in B♭ with the secondary dominants](https://practice.graph.audio/#progression=turnaround:10:drop2:4:jazz:s-secondary-dominant) ## In every key | Key | As written | Secondary dominants | | --- | --- | --- | | C | Cmaj7 – Am7 – Dm7 – G7 | Cmaj7 – A7 – Dm7 – G7 | | D♭ | D♭maj7 – B♭m7 – E♭m7 – A♭7 | D♭maj7 – B♭7 – E♭m7 – A♭7 | | D | Dmaj7 – Bm7 – Em7 – A7 | Dmaj7 – B7 – Em7 – A7 | | E♭ | E♭maj7 – Cm7 – Fm7 – B♭7 | E♭maj7 – C7 – Fm7 – B♭7 | | E | Emaj7 – C♯m7 – F♯m7 – B7 | Emaj7 – C♯7 – F♯m7 – B7 | | F | Fmaj7 – Dm7 – Gm7 – C7 | Fmaj7 – D7 – Gm7 – C7 | | F♯ | F♯maj7 – D♯m7 – G♯m7 – C♯7 | F♯maj7 – D♯7 – G♯m7 – C♯7 | | G | Gmaj7 – Em7 – Am7 – D7 | Gmaj7 – E7 – Am7 – D7 | | A♭ | A♭maj7 – Fm7 – B♭m7 – E♭7 | A♭maj7 – F7 – B♭m7 – E♭7 | | A | Amaj7 – F♯m7 – Bm7 – E7 | Amaj7 – F♯7 – Bm7 – E7 | | B♭ | B♭maj7 – Gm7 – Cm7 – F7 | B♭maj7 – G7 – Cm7 – F7 | | B | Bmaj7 – G♯m7 – C♯m7 – F♯7 | Bmaj7 – G♯7 – C♯m7 – F♯7 | ## In the tunes Tune pages whose changes the app can substitute this way, with the first bar it changes. - [Autumn Leaves](https://practice.graph.audio/guitar/tunes/autumn-leaves) (bar 8 first) - [Blue Bossa](https://practice.graph.audio/guitar/tunes/blue-bossa) (bar 2 first) ## More - [I–vi–ii–V in B♭](https://practice.graph.audio/guitar/progressions/i-vi-ii-v-in-bb) - [Tritone substitute](https://practice.graph.audio/guitar/substitutions/tritone) - [Tritone sub with its related ii](https://practice.graph.audio/guitar/substitutions/tritone-related-ii) - [Backdoor ii–V](https://practice.graph.audio/guitar/substitutions/backdoor) - [Passing diminished chord](https://practice.graph.audio/guitar/substitutions/passing-diminished) - [Minor iv](https://practice.graph.audio/guitar/substitutions/minor-iv) ## Practice it in Practice Lab Comp I–vi–ii–V (1625) in B♭ with the secondary dominants in Practice Lab, in any key. Free, in your browser, no account. [Open it in Practice Lab](https://practice.graph.audio/#progression=turnaround:10:drop2:4:jazz:s-secondary-dominant)