. . "Dominantes secund\u00E1rias ou acordes secund\u00E1rios s\u00E3o uma esp\u00E9cie de acorde ou emprestado (portanto, fora de escala) comumente utilizada para enriquecer-se uma harmonia. Em suma, s\u00E3o uma tr\u00EDade ou um acorde de s\u00E9tima no quinto grau de uma escala, que se resolve em algum grau al\u00E9m do primeiro (geralmente o quinto) que assume fun\u00E7\u00E3o an\u00E1loga \u00E0 t\u00F4nica por um per\u00EDodo curto demais (em geral, no m\u00E1ximo uma frase) para se estabelecer de fato uma modula\u00E7\u00E3o. Constituem a esp\u00E9cie de acorde alterado mais comum na m\u00FAsica . As dominantes secund\u00E1rias s\u00E3o uma pe\u00E7a fundamental na m\u00FAsica popular e no jazz."@pt . "33965"^^ . . . . . . . "showing secondary leading-tone chords."@en . "Mimoton\u00E1ln\u00ED dominanta"@cs . . . . "300"^^ . "A diatonic I\u2013vi\u2013ii\u2013V turnaround and a progression with secondary dominants: I\u2013V/V/V\u2013V/V\u2013V\u2013I"@en . "{\n\\relative c' {\n \\clef treble\n \\time 4/4\n e4 f8 fis g f e d cis e g bes r a4.\n} }"@en . . . . . "Dominante secund\u00E1ria"@pt . . . "262294"^^ . . . . . "\u041F\u043E\u0431\u043E\u0301\u0447\u043D\u0430\u044F \u0434\u043E\u043C\u0438\u043D\u0430\u0301\u043D\u0442\u0430 \u2014 \u0444\u0443\u043D\u043A\u0446\u0438\u044F \u0432 \u043C\u0430\u0436\u043E\u0440\u043D\u043E-\u043C\u0438\u043D\u043E\u0440\u043D\u043E\u0439 \u0442\u043E\u043D\u0430\u043B\u044C\u043D\u043E\u0441\u0442\u0438, \u0430\u043A\u043A\u043E\u0440\u0434, \u0432\u044B\u043F\u043E\u043B\u043D\u044F\u044E\u0449\u0438\u0439 \u0444\u0443\u043D\u043A\u0446\u0438\u044E \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u044B \u043F\u043E \u043E\u0442\u043D\u043E\u0448\u0435\u043D\u0438\u044E \u043A \u043D\u0435\u0442\u043E\u043D\u0438\u0447\u0435\u0441\u043A\u043E\u0439 \u0441\u0442\u0443\u043F\u0435\u043D\u0438 \u043B\u0430\u0434\u0430, \u043A\u0430\u043A \u0435\u0441\u043B\u0438 \u0431\u044B \u043E\u043D\u0430 \u0431\u044B\u043B\u0430 \u0442\u043E\u043D\u0438\u043A\u043E\u0439. \u0412 \u043E\u0431\u0449\u0435\u043C \u0432\u0438\u0434\u0435 \u043E\u0431\u043E\u0437\u043D\u0430\u0447\u0430\u0435\u0442\u0441\u044F \u043A\u0430\u043A D\u043F, \u0432 \u043A\u043E\u043D\u043A\u0440\u0435\u0442\u043D\u043E\u043C \u0441\u043B\u0443\u0447\u0430\u0435 \u2014 D/[\u0441\u0442\u0443\u043F\u0435\u043D\u044C], \u0433\u0434\u0435 \u00AB\u0441\u0442\u0443\u043F\u0435\u043D\u044C\u00BB \u2014 \u043D\u043E\u043C\u0435\u0440 \u0441\u0442\u0443\u043F\u0435\u043D\u0438, \u043A \u043A\u043E\u0442\u043E\u0440\u043E\u0439 \u0441\u0442\u0440\u043E\u0438\u0442\u0441\u044F \u043F\u043E\u0431\u043E\u0447\u043D\u0430\u044F \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u0430, \u043D\u0430\u043F\u0440\u0438\u043C\u0435\u0440, D/III \u2014 \u00AB\u043F\u043E\u0431\u043E\u0447\u043D\u0430\u044F \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u0430 \u043A \u0442\u0440\u0435\u0442\u044C\u0435\u0439 \u0441\u0442\u0443\u043F\u0435\u043D\u0438\u00BB. \u0412 \u043C\u0430\u0436\u043E\u0440\u0435 \u043F\u043E\u0431\u043E\u0447\u043D\u044B\u0435 \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u044B \u0441\u0442\u0440\u043E\u044F\u0442\u0441\u044F \u043A \u0441\u043B\u0435\u0434\u0443\u044E\u0449\u0438\u043C \u0441\u0442\u0443\u043F\u0435\u043D\u044F\u043C: II, III, IV, V, VI; \u0432 \u043C\u0438\u043D\u043E\u0440\u0435 \u2014 \u043A III, IV, V, VI, VII. \u0425\u0430\u0440\u0430\u043A\u0442\u0435\u0440\u043D\u044B\u0439 \u043F\u0440\u0438\u0437\u043D\u0430\u043A \u043B\u044E\u0431\u043E\u0439 \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u044B \u2014 \u0432\u0432\u043E\u0434\u043D\u044B\u0439 \u0442\u043E\u043D (\u0432 \u00AB\u043E\u0431\u044B\u0447\u043D\u044B\u0445\u00BB \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u0430\u0445 \u044D\u0442\u043E VII \u0441\u0442\u0443\u043F\u0435\u043D\u044C, \u0442\u044F\u0433\u043E\u0442\u0435\u044E\u0449\u0430\u044F \u0432 I)."@ru . "Secondary dominants in Beethoven's Piano Sonata No. 10, op. 14, no. 2, mvmt. II"@en . "La dominante secondaria \u00E8 un elemento musicale di tipo \"armonico\" presente in quasi tutti i generi musicali, in particolare modo nella musica colta e nel jazz. Si avvale di un principio per il quale un accordo che non ha funzione di tonica sia temporaneamente investito di tale ruolo. Sono accordi di dominante costruiti su I, II, III, VI e VII grado della scala maggiore. Hanno la funzione di \"risolvere\" la loro tensione sull'accordo diatonico che si trova una quinta sotto (o quarta sopra). Con molta probabilit\u00E0 quando all'interno di un brano si trova un accordo di dominante non riferibile al quinto grado della tonalit\u00E0, questo potrebbe svolgere il compito di dominante secondaria. La funzione di dominante \u00E8 un concetto essenziale per capire ci\u00F2 che s'intende per dominante secondaria. \u00AB Dall'osservazione di questa pratica nelle opere dei compositori si pu\u00F2 ricavare la seguente regola: qualsiasi grado della scala pu\u00F2 essere preceduto dalla propria dominante senza che la tonalit\u00E0 principale ne sia indebolita. \u00BB."@it . . . . "Mimoton\u00E1ln\u00ED dominanta, t\u00E9\u017E vlo\u017Een\u00E1 dominanta, je pojem vyskytuj\u00EDc\u00ED se v klasick\u00E9 harmonii. Jedn\u00E1 se o skute\u010Dn\u00E9 dominanty, kter\u00E9 se vkl\u00E1daj\u00ED p\u0159ed ton\u00E1ln\u00ED akordy p\u0159edstavuj\u00EDc\u00ED v tu chv\u00EDli do\u010Dasn\u00E9 t\u00F3niky."@cs . . "A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization. Secondary chords are a type of altered or borrowed chord, chords that are not part of the music piece's key. They are the most common sort of altered chord in tonal music. Secondary chords are referred to by the function they have and the key or chord in which they function. Conventionally, they are written with the notation \"function/key\". Thus, the most common secondary chord, the dominant of the dominant, is written \"V/V\" and read as \"five of five\" or \"the dominant of the dominant\". The major or minor triad on any diatonic scale degree may have any secondary function applied to it; secondary functions may even be applied to diminished triads in some special circumstances. Secondary chords were not used until the Baroque period and are found more frequently and freely in the Classical period, even more so in the Romantic period. Composers began to use them less frequently with the breakdown of conventional harmony in modern classical music\u2014but secondary dominants are a cornerstone of popular music and jazz in the 20th century."@en . . . . . . . . "A secondary leading-tone half-diminished chord in"@en . "350"^^ . . . . . . "A secondary chord is an analytical label for a specific harmonic device that is prevalent in the tonal idiom of Western music beginning in the common practice period: the use of diatonic functions for tonicization. Secondary chords were not used until the Baroque period and are found more frequently and freely in the Classical period, even more so in the Romantic period. Composers began to use them less frequently with the breakdown of conventional harmony in modern classical music\u2014but secondary dominants are a cornerstone of popular music and jazz in the 20th century."@en . . "Interdominantoj (anka\u016D duarangaj dominantoj a\u016D preteraj dominantoj) estas akordoj kun dominanta karaktero, kiuj dissolvas en sonon malsaman al toniko. Oni uzas ilin por enkonduki moduladon a\u016D flankeniron, sed ili anka\u016D povas aperi por nur mallonga momento, do sen gravaj konsekvencoj. \u0108ar interdominantoj ne estas nure formeblaj per gam-apartena materialo de la bazotonalo, \u0109iam necesas uzo de alteraciiloj. Por mildigi la fremcecon de \u0109i tiuj sonoj en la harmonia kunteksto kaj samtempe substreki ilian efikon, \u0109i tiu interdominantoj ofte aperas kiel dominantaj septakordoj (vidu anka\u016D: karakteriza disonanco). Ofte ili eli\u011Das kromate el la anta\u016Da sono, kio siaflanke garantias interligitecon. Speciala kazoj estas la duobla dominanto kaj duobla subdominanto."@eo . . . . . . . . "Interdominanto"@eo . "Brahms's Intermezzo, op. 119, no. 3"@en . . . . . . "Zwischendominanten oder auch Sekund\u00E4rdominanten sind Akkorde mit dominantischem Charakter, die sich in einen von der Tonika verschiedenen Klang aufl\u00F6sen. Sie werden verwendet, um eine Modulation oder Ausweichung einzuleiten, k\u00F6nnen aber auch nur kurz, d. h. ohne weiterreichende Konsequenzen, auftauchen. Da Zwischendominanten nicht mit ausschlie\u00DFlich leitereigenem Material der Grundtonart gebildet werden k\u00F6nnen, ist immer eine Verwendung von Versetzungszeichen n\u00F6tig. Um die Fremdheit dieser Kl\u00E4nge im harmonischen Zusammenhang aufzufangen und gleichzeitig die Wirkung zu unterstreichen, treten Zwischendominanten oft als Dominantseptakkorde auf (siehe auch: Charakteristische Dissonanz). Oftmals gehen sie chromatisch aus dem vorhergehenden Klang hervor, was wiederum f\u00FCr Zusammenhalt sorgt. Spezialf\u00E4lle sind die Doppeldominante und die Doppelsubdominante."@de . "Zwischendominante"@de . . . . . . . . . "Measure 2 shows a bebop clich\u00E9 arpeggio upwards from the third to the ninth of A79, which is the secondary dominant of D minor, the ii chord in the key of C ."@en . . . "Dominante passag\u00E8re"@fr . . . . "Secondary chords in Mozart's Fantasia in C minor, K. 475"@en . . . . . . . . . . "8.0"^^ . . . . . "Dominant secund\u00E0ria"@ca . . "1096024384"^^ . . . . . . . "En harmonie tonale, on appelle dominante passag\u00E8re, un type d'accord d'emprunt consistant en un accord de septi\u00E8me ou de neuvi\u00E8me de dominante \u00E9tranger \u00E0 une tonalit\u00E9 donn\u00E9e, qui s'encha\u00EEne exceptionnellement sur un accord appartenant \u00E0 cette tonalit\u00E9. Un tel accord d'emprunt est appel\u00E9 \u00E9galement, dominante secondaire, dominante interm\u00E9diaire ou encore, dominante d'emprunt. Dans le jargon jazz, plusieurs musiciens emploient le terme cinq de..."@fr . . . . "Dominante secondaria"@it . . . . . "La dominante secondaria \u00E8 un elemento musicale di tipo \"armonico\" presente in quasi tutti i generi musicali, in particolare modo nella musica colta e nel jazz. Si avvale di un principio per il quale un accordo che non ha funzione di tonica sia temporaneamente investito di tale ruolo. Sono accordi di dominante costruiti su I, II, III, VI e VII grado della scala maggiore. Hanno la funzione di \"risolvere\" la loro tensione sull'accordo diatonico che si trova una quinta sotto (o quarta sopra). Con molta probabilit\u00E0 quando all'interno di un brano si trova un accordo di dominante non riferibile al quinto grado della tonalit\u00E0, questo potrebbe svolgere il compito di dominante secondaria."@it . . . . . . "Zwischendominanten oder auch Sekund\u00E4rdominanten sind Akkorde mit dominantischem Charakter, die sich in einen von der Tonika verschiedenen Klang aufl\u00F6sen. Sie werden verwendet, um eine Modulation oder Ausweichung einzuleiten, k\u00F6nnen aber auch nur kurz, d. h. ohne weiterreichende Konsequenzen, auftauchen. Spezialf\u00E4lle sind die Doppeldominante und die Doppelsubdominante."@de . . . . . . "En l'harmonia tonal s'anomena Dominant secund\u00E0ria a un tipus d'acord de pr\u00E9stec consistent en un acord de s\u00E8ptima o novena de dominant, estrany a la tonalitat del fragment, que s'encadena excepcionalment sobre un acord que si que pertany a aquesta tonalitat. Com que la dominant secund\u00E0ria no \u00E9s de la tonalitat del fragment, es posa moment\u00E0niament per provocar un canvi de color a l'o\u00EFda. Una dominant secund\u00E0ria \u00E9s doncs un acord de dominant col\u00B7locat en un lloc diferent al cinqu\u00E8 grau (V), que fa un encadenament natural - per pas de quarta ascendent - sobre un grau de la tonalitat, sense que l'oient percebi aquest encadenament com una modulaci\u00F3 transit\u00F2ria. \n* Una dominant secund\u00E0ria es pot utilitzar amb fonamental o sense, i la seva quinta pot ser opcionalment alterada. \n* Pel fet que aquest encadenament deriva de la cad\u00E8ncia perfecta, la quinta de l'acord produ\u00EFt per la dominant secund\u00E0ria ha de ser una quinta justa: en conseq\u00FC\u00E8ncia, l'acord col\u00B7locat sobre el segon grau (II) del mode menor pot ser introdu\u00EFt per una dominant secund\u00E0ria. \n* La difer\u00E8ncia entre una modulaci\u00F3 transit\u00F2ria i l'encadenament d'una dominant secund\u00E0ria sobre un grau no alterat no \u00E9s sempre f\u00E0cil de discernir. No obstant aix\u00F2, la dominant secund\u00E0ria es troba generalment sobre un temps o part de temps feble i no t\u00E9 una altra funci\u00F3 que la de posar en relleu el grau seg\u00FCent. Una dominant secund\u00E0ria situada en un temps fort es percebria de fet com una modulaci\u00F3 transit\u00F2ria, llevat que form\u00E9s part d'una successi\u00F3 de quintes."@ca . . . . . . . . . . . . . . . . . "7.0"^^ . . . . "En harmonie tonale, on appelle dominante passag\u00E8re, un type d'accord d'emprunt consistant en un accord de septi\u00E8me ou de neuvi\u00E8me de dominante \u00E9tranger \u00E0 une tonalit\u00E9 donn\u00E9e, qui s'encha\u00EEne exceptionnellement sur un accord appartenant \u00E0 cette tonalit\u00E9. Un tel accord d'emprunt est appel\u00E9 \u00E9galement, dominante secondaire, dominante interm\u00E9diaire ou encore, dominante d'emprunt. Dans le jargon jazz, plusieurs musiciens emploient le terme cinq de..."@fr . "345607.0"^^ . . "Interdominantoj (anka\u016D duarangaj dominantoj a\u016D preteraj dominantoj) estas akordoj kun dominanta karaktero, kiuj dissolvas en sonon malsaman al toniko. Oni uzas ilin por enkonduki moduladon a\u016D flankeniron, sed ili anka\u016D povas aperi por nur mallonga momento, do sen gravaj konsekvencoj. \u0108ar interdominantoj ne estas nure formeblaj per gam-apartena materialo de la bazotonalo, \u0109iam necesas uzo de alteraciiloj. Por mildigi la fremcecon de \u0109i tiuj sonoj en la harmonia kunteksto kaj samtempe substreki ilian efikon, \u0109i tiu interdominantoj ofte aperas kiel dominantaj septakordoj (vidu anka\u016D: karakteriza disonanco). Ofte ili eli\u011Das kromate el la anta\u016Da sono, kio siaflanke garantias interligitecon."@eo . . . . . "Secondary chord"@en . . . . . . . "Dominantes secund\u00E1rias ou acordes secund\u00E1rios s\u00E3o uma esp\u00E9cie de acorde ou emprestado (portanto, fora de escala) comumente utilizada para enriquecer-se uma harmonia. Em suma, s\u00E3o uma tr\u00EDade ou um acorde de s\u00E9tima no quinto grau de uma escala, que se resolve em algum grau al\u00E9m do primeiro (geralmente o quinto) que assume fun\u00E7\u00E3o an\u00E1loga \u00E0 t\u00F4nica por um per\u00EDodo curto demais (em geral, no m\u00E1ximo uma frase) para se estabelecer de fato uma modula\u00E7\u00E3o. Constituem a esp\u00E9cie de acorde alterado mais comum na m\u00FAsica . As dominantes secund\u00E1rias s\u00E3o uma pe\u00E7a fundamental na m\u00FAsica popular e no jazz."@pt . . . . . "Mimoton\u00E1ln\u00ED dominanta, t\u00E9\u017E vlo\u017Een\u00E1 dominanta, je pojem vyskytuj\u00EDc\u00ED se v klasick\u00E9 harmonii. Jedn\u00E1 se o skute\u010Dn\u00E9 dominanty, kter\u00E9 se vkl\u00E1daj\u00ED p\u0159ed ton\u00E1ln\u00ED akordy p\u0159edstavuj\u00EDc\u00ED v tu chv\u00EDli do\u010Dasn\u00E9 t\u00F3niky."@cs . . "\u041F\u043E\u0431\u043E\u0301\u0447\u043D\u0430\u044F \u0434\u043E\u043C\u0438\u043D\u0430\u0301\u043D\u0442\u0430 \u2014 \u0444\u0443\u043D\u043A\u0446\u0438\u044F \u0432 \u043C\u0430\u0436\u043E\u0440\u043D\u043E-\u043C\u0438\u043D\u043E\u0440\u043D\u043E\u0439 \u0442\u043E\u043D\u0430\u043B\u044C\u043D\u043E\u0441\u0442\u0438, \u0430\u043A\u043A\u043E\u0440\u0434, \u0432\u044B\u043F\u043E\u043B\u043D\u044F\u044E\u0449\u0438\u0439 \u0444\u0443\u043D\u043A\u0446\u0438\u044E \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u044B \u043F\u043E \u043E\u0442\u043D\u043E\u0448\u0435\u043D\u0438\u044E \u043A \u043D\u0435\u0442\u043E\u043D\u0438\u0447\u0435\u0441\u043A\u043E\u0439 \u0441\u0442\u0443\u043F\u0435\u043D\u0438 \u043B\u0430\u0434\u0430, \u043A\u0430\u043A \u0435\u0441\u043B\u0438 \u0431\u044B \u043E\u043D\u0430 \u0431\u044B\u043B\u0430 \u0442\u043E\u043D\u0438\u043A\u043E\u0439. \u0412 \u043E\u0431\u0449\u0435\u043C \u0432\u0438\u0434\u0435 \u043E\u0431\u043E\u0437\u043D\u0430\u0447\u0430\u0435\u0442\u0441\u044F \u043A\u0430\u043A D\u043F, \u0432 \u043A\u043E\u043D\u043A\u0440\u0435\u0442\u043D\u043E\u043C \u0441\u043B\u0443\u0447\u0430\u0435 \u2014 D/[\u0441\u0442\u0443\u043F\u0435\u043D\u044C], \u0433\u0434\u0435 \u00AB\u0441\u0442\u0443\u043F\u0435\u043D\u044C\u00BB \u2014 \u043D\u043E\u043C\u0435\u0440 \u0441\u0442\u0443\u043F\u0435\u043D\u0438, \u043A \u043A\u043E\u0442\u043E\u0440\u043E\u0439 \u0441\u0442\u0440\u043E\u0438\u0442\u0441\u044F \u043F\u043E\u0431\u043E\u0447\u043D\u0430\u044F \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u0430, \u043D\u0430\u043F\u0440\u0438\u043C\u0435\u0440, D/III \u2014 \u00AB\u043F\u043E\u0431\u043E\u0447\u043D\u0430\u044F \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u0430 \u043A \u0442\u0440\u0435\u0442\u044C\u0435\u0439 \u0441\u0442\u0443\u043F\u0435\u043D\u0438\u00BB. \u0412 \u043C\u0430\u0436\u043E\u0440\u0435 \u043F\u043E\u0431\u043E\u0447\u043D\u044B\u0435 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\u043C\u0435\u043B\u043E\u0434\u0438\u0447\u0435\u0441\u043A\u043E\u0435 \u0434\u0432\u0438\u0436\u0435\u043D\u0438\u0435 \u0437\u0430 \u0441\u0447\u0435\u0442 \u0438\u0441\u043F\u043E\u043B\u044C\u0437\u043E\u0432\u0430\u043D\u0438\u044F \u0445\u0440\u043E\u043C\u0430\u0442\u0438\u0447\u0435\u0441\u043A\u0438\u0445 \u0437\u0432\u0443\u043A\u043E\u0432. \u041D\u0430\u0438\u0431\u043E\u043B\u044C\u0448\u0435\u0435 \u0440\u0430\u0441\u043F\u0440\u043E\u0441\u0442\u0440\u0430\u043D\u0435\u043D\u0438\u0435 \u0432 \u043A\u043B\u0430\u0441\u0441\u0438\u0447\u0435\u0441\u043A\u043E\u0439 \u0433\u0430\u0440\u043C\u043E\u043D\u0438\u0438 \u043F\u043E\u043B\u0443\u0447\u0438\u043B\u0438 \u0430\u043A\u043A\u043E\u0440\u0434\u044B D/V (\u043F\u043E \u0442\u0435\u0440\u043C\u0438\u043D\u043E\u043B\u043E\u0433\u0438\u0438 \u0413\u0443\u0433\u043E \u0420\u0438\u043C\u0430\u043D\u0430 \u00AB\u0434\u0432\u043E\u0439\u043D\u044B\u0435 \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u044B\u00BB, \u043E\u0431\u043E\u0437\u043D\u0430\u0447\u0435\u043D\u0438\u0435 DD) \u0438 D/IV."@ru . . . "\u041F\u043E\u0431\u043E\u0447\u043D\u0430\u044F \u0434\u043E\u043C\u0438\u043D\u0430\u043D\u0442\u0430"@ru . . . . "En l'harmonia tonal s'anomena Dominant secund\u00E0ria a un tipus d'acord de pr\u00E9stec consistent en un acord de s\u00E8ptima o novena de dominant, estrany a la tonalitat del fragment, que s'encadena excepcionalment sobre un acord que si que pertany a aquesta tonalitat. Com que la dominant secund\u00E0ria no \u00E9s de la tonalitat del fragment, es posa moment\u00E0niament per provocar un canvi de color a l'o\u00EFda."@ca . . . "Three measures from \"Easy Living\""@en . . .