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Hi, as far as I know in this chord progression the F#7 is the secondary dominant of the V chord B7 (the V Chord of the V Chord) This is why it works.
To resolve from the IV Chord back to I Chord you can go over the Minor IV. A over Am to E. This is why the Am works. I hope I have got it right and it helps.Take the chance to meet your AM friends on Zoom
The next Meetup will be May/June
There will be a detailed announcement here in the forum
I look forward to meet you.
Manfred -
That’s correct Manfred!
The sequence IV -iv – I (in this case: A – Am -E) is a very common way to return from IV to I. In terms of voice leading we have (A C# E) -> (A C E) -> (E G# B). The chromatic descend C# C B is what makes this progression so nice.
You can view it as a chromatic passing chord, or as a borrowed chord from E Aeolian.In bars 7 and 15, the F#7 is indeed the secondary dominant: it is the V7 of the V chord, which in this case is B.
In bar 13 the F#7 chord also functions as a secondary dominant, but here it is held much longer; in fact, the E chord that follows in bar 14 is a decoration of that V7 chord. Bars 13, 14 and 15 actually temporarily modulate to the key of B; in that key we have V7 – IV – V7 – I (F#7 – E – F#7 – B7). The final chord B7 is a pivot chord that brings us back to the original key of E major.
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Thanks for your detailed explanation, Jean Michel. You can explain it so much better than I can. But I’m glad I figured it out right. I’m just starting to find my way around music theory.
Take the chance to meet your AM friends on Zoom
The next Meetup will be May/June
There will be a detailed announcement here in the forum
I look forward to meet you.
Manfred
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Thanks to Manfred and Jean-Michel for your detailed answers. I am not sure if if I understand the theory but I learned that the V of the V – chord works well as a pasning chord! As also the IV of the IV chord does.
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The theory is very simple.
The diatonic chords in any major key are: I ii iii IV V vi vii°. The strongest chord change is V(7) – I (the perfect cadence).The idea is to reproduce this for all the other chords in the key, pretending that each one is a momentary tonic chord: V7/ii -> ii, V7/iii -> iii, V7/IV -> IV, V7/V -> V, V7/vi -> vi.
In C major, that gives: A7 -> Dm, B7 -> Em, C7 -> F, D7 -> G, E7 -> Am.
Of course, none of these “secondary dominants” are diatonic, but they are particularly effective to harmonize chromatic melody notes.The same concept applies to minor keys as well.
As for the IV -> iv -> I sequence (e.g. F -> Fm -> C), the Fm chord is just a chromatic passing chord.
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