Ever feel like your chord progressions sound a bit... predictable? Like they're doing exactly what they're supposed to do, but they're missing that extra spark? Today we're going to talk about secondary dominants—a simple trick that can make your progressions feel more sophisticated and emotionally engaging without requiring a music degree.
What's a Secondary Dominant, Anyway?
Let's start simple. You know how in a key, certain chords just want to resolve to the tonic (the home chord)? Like in C major, a G major chord (the V chord) really wants to go to C major (the I chord)? That pull you feel is called dominant motion, and it's one of the strongest forces in Western music.
Now here's the cool part: you can create that same kind of pull toward any chord in your key, not just the tonic. That's what a secondary dominant is—it's basically borrowing a chord from outside your key to create tension that resolves to a chord that is in your key.
Think of it like this: if regular dominant chords are highways leading home, secondary dominants are scenic routes that make interesting pit stops before eventually getting you back.
The Formula (Don't Worry, It's Easy)
Here's the practical bit: to create a secondary dominant, you build a major chord (or dominant 7th chord) on the note that's a perfect 5th above your target chord.
Let's use an example in C major. Say you're going from C to Am (the vi chord). That's nice, but pretty standard. Instead, try inserting an E major chord (or E7) right before the Am. That E major is the secondary dominant of Am.
So instead of: C → Am
Try: C → E (or E7) → Am
That E major chord isn't in the key of C major (it's got a G# in it), but that's exactly why it works—it creates a moment of tension that makes the resolution to Am feel more satisfying.
Common Secondary Dominants You Can Use Right Now
Here are some plug-and-play options in the key of C major (but you can transpose these to any key):
Going to the ii chord (Dm)?
Use A or A7 before it.
Progression: C → A7 → Dm → G
This is super common in jazz and neo-soul, but it works beautifully in house and garage too.
Going to the IV chord (F)?
Use C or C7 before it.
Progression: C → C7 → F → G
Yes, you can have two C chords in a row if one is major and one is dominant 7th—the character change is noticeable.
Going to the V chord (G)?
Use D or D7 before it.
Progression: C → D7 → G → C
This creates a cool "dominants stacking into each other" effect.
Going to the vi chord (Am)?
Use E or E7 before it.
Progression: C → G → E7 → Am
This is my personal favorite for adding drama to a progression.
How to Actually Use This in Your DAW
Let's get practical. Open your DAW and try this:
1. Start with a basic progression you already have. Let's say C → G → Am → F (yes, the classic one).
2. Identify where you want more tension. The Am is a good candidate because it's a minor chord with emotional weight.
3. Insert a secondary dominant. Add an E7 chord right before the Am. Your progression becomes: C → G → E7 → Am → F.
4. Keep it brief. Secondary dominants usually work best when they're the same length or shorter than the surrounding chords. If your main chords are one bar each, try making the E7 half a bar.
5. Add movement. Secondary dominants shine when you add some melodic or rhythmic motion. Try an ascending bassline leading into the chord, or have your lead melody hit the leading tone (in this case, G# leading to A).
Pro Tips for Electronic Music
For House/Techno: Secondary dominants work great in breakdown sections where you want to build tension. That borrowed note (like the G# in our E7) creates a "something's happening" feeling that's perfect before a drop.
For Future Bass/Melodic Dubstep: Try using secondary dominants with extended chords (9ths, 11ths). An E7♯9 → Am progression sounds absolutely massive with thick supersaw synths.
For Lo-fi/Chill: Secondary dominants add sophistication without complexity. A lazy, Rhodes-style sound playing these progressions immediately elevates your track.
For Drum & Bass/Jungle: The tension from secondary dominants pairs beautifully with rhythmic intensity. Use them in your pad progressions while the drums do their thing.
Making It Sound Natural
The key to using secondary dominants without sounding like you're just throwing random chords in is voice leading—how smoothly the individual notes move from chord to chord.
Here's a simple rule: try to move each note in your chord to the nearest note in the next chord. Your MIDI editor is your friend here. Instead of just slapping down block chords, look at the individual notes and make sure they're taking efficient paths.
For example, when going from E7 to Am:
- E → E (stays the same)
- G# → A (moves up a half step)
- B → C (moves up a half step)
- D → D (stays the same)
See how smooth that is? Two notes stay, two notes move by just a half step. That's why it sounds good.
Your Next Steps
Here's your homework: take your current project and find one chord progression. Pick one chord transition that feels a bit plain, and insert a secondary dominant before the target chord. Spend 15 minutes listening to how it changes the vibe.
You don't need to use secondary dominants everywhere—they're like hot sauce. A little bit in the right place makes everything better, but you don't want to drown your food in it.
Start with the examples I gave you, get comfortable with how they sound and feel, and then you'll start hearing opportunities to use them in your own music. Once you train your ear to recognize that dominant pull, you'll hear secondary dominants everywhere in the music you love—and you'll wonder how you never noticed them before.
Now go make something cool.