Secondary Dominants Auld Lang Syne

[thegagers]

The only secondary dominant added was a ii V7 of IV. Nice sound. But if there's an opportunity to target a minor chord like the ii, iii or vi would you want to flat the 5th of the ii and flat the 9th of the V7?

Thanks,

Jim G

[place]

In general, the answer for me is yes, with the caveat that your ear is the final judge. I have played this tune before and in at least two places I use exactly what you're describing. I usual play it in the key of F, but I'll transpose to G so it doesn't get too confusing.

The first is the downbeat of measure 5. I play a Bm7 chord on count one (substituting the iii for the tonic) and usual precede that chord with it's related ii-V on counts 3 & 4 of measure 4. So, in other words, a C#m7b5 - F#7b9 and then to Bm7.

The second is similar in measure 7 where I again substitute for the tonic but this time with the vi chord - Em7. I precede that with it's ii-V (F#m7b5-B7b9) on the two previous beats of measure 6. Actually I play a subV on beat 4 (F7) but that's another story.

Hope that makes sense!

[thegagers]

Mark, thank you for your thorough answer and for taking the trouble to answer it in the key of G.

There's a lot going on in what you did. First you have to recognize that you can make a substitution and then precede the substitution with a its ii V. And while you're at it throw in a sub V. I may need a few more years before I can pull that off. As Willie says - "be patient with yourself..."

Jim G