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Old 14th July 2019
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Poopypants's Avatar

You might be overanalyzing the chords. It's i-V-FLATVII-IV-VI-III. The only chord that doesn't exist in the key is the major IV. The motion is all I-V, moving down in whole steps.

V7 is not a secondary dominant, ever, in any situation. It is dominant. A secondary dominant has a V-I relationship with any chord that isn't the I. So a II7 chord is a secondary dominant IF it resolves to a V or sub V.

The F sharp MAJOR chord is in no way the iii of the relative major. iii is minor; this chord is major. It is in a different key from the relative major. There is no way to rationalize it as being in the relative major. It is simply the V of the key of B min.

I'm not so sure that the flat VII chord is a sus2. Either way, it is possible to have a secondary dominant with suspended notes, but that's not what's happening here. Secondary dominants would be defined by the motion as well as chord quality. It would definitely need to be major to be secondary dominant, so *I think* lack of a defined third still qualifies. If it's minor then it has ii relationship to the target chord, which would then often be a dominant.

One thing that's happening is you're applying a classical music description of harmony in a different context. A lot of "rules" don't apply. (There are just different rules...)

Search online for definitions of tonic, sub dominant, sub dominant minor, dominant, secondary dominant.

Here are some basic definitions:

A tonic chord contains the major 3 of the key. So, key of C: A min, C Maj, E min

Sub dominant contains the 6th degree. D min, F Maj, A min

Sub Dominant Minor contains the FLATTED 6th degree. This is your borrowed chord. It is borrowed from the parallel minor. D dim, F min, A flat Maj. Note that a Flat VII7 is sub dominant minor, but a FlatVII MAJ7 is sub dominant.

Dominant contains the 7th degree. G Maj, B dim. E min doesn't count. I have no explanation except that it's tonic. It has the major third.

Secondary dominant is a major triad or dominant chord that has a V-I relationship with ANY chord that isn't the I.

Ultimately context defines how you'd analyze a chord. A chord could be analyzed several different ways, but the approach and departure are what defines the function.