Extensions on secondary dominants

[gersdal]

I found my Berklee Book on Jazz harmony (Barrie Nettles and Richard Graf). Scales for:
V7/I is Mixolydian
V7/II is Mixolydian b13 (the 9 is there btw)
V7/III is Mixolydian b9#9b13
V7/IV is Mixolydian
V7/V is Mixolydian
V7/VI Mixolydian b9#9b13

However, we alter at will for the V7/I and maybe we can do that also for the rest of the V7/* that gives mixolydian scale. Leaving 3 that is restricted to mostly alterartions, V7/II, V7/III, and V7/VI?

This must be checked. Time on the instrument ....

[Aristotle]

I found my Berklee Book on Jazz harmony (Barrie Nettles and Richard Graf). Scales for:
V7/II is Mixolydian b13 (the 9 is there btw)

Maybe I am reading this wrong, but this is where I think all this chord-scale rule-ology goes overboard. Jazz has eras and styles, and sub-styles (and maybe even sub-dominant styles ).

In the key of C
It seems to the A7 (V of II) in 5th measure of All of Me has a different tonality (the B-flat) than A7 at the top of Sweet Georgia Brown (B-natural).

[gersdal]

Maybe I am reading this wrong, but this is where I think all this chord-scale rule-ology goes overboard. Jazz has eras and styles, and sub-styles (and maybe even sub-dominant styles ).

In the key of C
It seems to the A7 (V of II) in 5th measure of All of Me has a different tonality (the B-flat) than A7 at the top of Sweet Georgia Brown (B-natural).

My question was rather easy and just related to standard blues progression.

[voelker]

So your saying there is no such thing as a secondary subdominant? I just came up with the idea after reading the original post. That was the first time I heard of it.

[gersdal]

So your saying there is no such thing as a secondary subdominant? I just came up with the idea after reading the original post. That was the first time I heard of it.

No, I'm just saying it is irrelevant for my question.

Why is all tensions available for the A7, but only the altered tensions for the E7 in the blues example I gave.

My best attempt in a answer so far is:

I found my Berklee Book on Jazz harmony (Barrie Nettles and Richard Graf). Scales for:
V7/I is Mixolydian
V7/II is Mixolydian b13 (the 9 is there btw)
V7/III is Mixolydian b9#9b13
V7/IV is Mixolydian
V7/V is Mixolydian
V7/VI Mixolydian b9#9b13

However, we alter at will for the V7/I and maybe we can do that also for the rest of the V7/* that gives mixolydian scale. Leaving 3 that is restricted to mostly alterartions, V7/II, V7/III, and V7/VI?

[fep]

Hi Gersdal,

I watched the DVD last night...

Don Mock said, "For now I'm going to give you this rule"... then he talked about not using 9ths of 13ths for the secondary dominant on the VI chord. He also talked about the VI7 chord (also known as the V/ii) wanting to resolve to a minor chord and that being the reason that the altered extensions work well in that situation.

So I take that quote as meaning a simple rule that is an oversimplification but is good for a beginner or an intermeciate guitarist to use. I believe he's implying that it's a rule that can be broken... but at your own risk.

It's great to understand rules, it's also good to break them.

[gersdal]

Don Mock said, "For now I'm going to give you this rule"... then he talked about not using 9ths of 13ths for the secondary dominant on the VI chord. He also talked about the VI7 chord (also known as the V/ii) wanting to resolve to a minor chord and that being the reason that the altered extensions work well in that situation.

So I take that quote as meaning a simple rule that is an oversimplification but is good for a beginner or an intermeciate guitarist to use. I believe he's implying that it's a rule that can be broken... but at your own risk.

It's great to understand rules, it's also good to break them.

Thanks a lot fep. I fully agree with you on the oversimplification and that musical rules can be broken, but I wanted to know a little of the background to why Don Mock would give me such a rule. I think the information I've got from you, Smitty and others have given me a good understanding into the background and why such a rule would be good (at least for beginners). Thanks a lot to you all.

[Aristotle]

How does that thing go from Ghostbusters?

Bill Murray " I make it a rule never to get involved with possessed people."
Then Sigourney Weaver starts to kiss him. And he says,
"Well, actually, it's more of a guideline than a rule."

I am not sure the advice about the VI chord is accurate. I never thought about it, but if you consider the standard, All of Me, in the key of C - the first time it goes to A7, there is a Bb in the melody (going to Dmin), the second time it goes to A7, there is a B in the melody (going to DMaj). I think both are common in that "vintage" of song.

[Smitty]

I found my Berklee Book on Jazz harmony (Barrie Nettles and Richard Graf). Scales for:
V7/I is Mixolydian
V7/II is Mixolydian b13 (the 9 is there btw)
V7/III is Mixolydian b9#9b13
V7/IV is Mixolydian
V7/V is Mixolydian
V7/VI Mixolydian b9#9b13

However, we alter at will for the V7/I and maybe we can do that also for the rest of the V7/* that gives mixolydian scale. Leaving 3 that is restricted to mostly alterartions, V7/II, V7/III, and V7/VI?

This must be checked. Time on the instrument ....

V7/II WOULD be right if we were dealing with a IMA7 (Ionian). But we're dealing with a I7, Mixo. Therefore, the 7 of I (B) is now Bb. B is the 9 of V7/II, which is now flatted to Bb, giving us Mixo b9/b13 .

THOUGH...this situation is a bit hairy because, even though the I is a I7, the ear might forget that it was hearing a tonic mixolydian sound, and will instead go to what it knows best--a tonic ionian sound. Therefore, some peoples' ears will want to hear a natural 9 on the V7/II, others a b9 (and therefore also a #9). To me, in this particular situation, the natural 9 sounds a little odd and the b9 sounds better. But I can see why a natural 9 would sound ok to others.
Even though TECHNICALLY it's supposed to be a b9, either one works...let your ears decide.

[gersdal]

V7/II WOULD be right if we were dealing with a IMA7 (Ionian). But we're dealing with a I7, Mixo. Therefore, the 7 of I (B) is now Bb. B is the 9 of V7/II, which is now flatted to Bb, giving us Mixo b9/b13 .

THOUGH...this situation is a bit hairy because, even though the I is a I7, the ear might forget that it was hearing a tonic mixolydian sound, and will instead go to what it knows best--a tonic ionian sound. Therefore, some peoples' ears will want to hear a natural 9 on the V7/II, others a b9 (and therefore also a #9). To me, in this particular situation, the natural 9 sounds a little odd and the b9 sounds better. But I can see why a natural 9 would sound ok to others.
Even though TECHNICALLY it's supposed to be a b9, either one works...let your ears decide.

Thanks. Good information on the last piece of the puzzle for me

[FatJeff]

I was looking at Don Mock’s DVD Jazz Guitar Rhythm Chops again yesterday, and one thing struck me as peculiar. In a standard jazz blues progression…
| G7 | C7 | G7 | G7 | C7 | C7 | G7 | E7 | A7 | D7 | G7 E7 | A7 D7 |
… he explains that the first E7 is a secondary dominant, and since it is a secondary dominant you can’t put any kind of extensions on it. Altered extensions are good, but straight 9, 11 and 13 are no-no.

This is interesting information, but when he continues to the A7 chord he explains that you can do whatever you want with that. But, the A7 is also a secondary dominant! Why is this rule only applicable for some secondary dominants? Is this because the A7 could have been an Am7, and that dictates the extensions to the secondary dominant? The secondary dominant for D7 will always go to a dominant seven, off course.

I’ve played around with various versions of extensions to the E7 and A7, and I think I have convinced myself with that Don Mock has got a good point, but does anyone have anything sound basis for this difference?

I think I remember that the Berkeley cord-scale book has got something on scales for the various secondary dominants, but I don't know if that has any relevance for this question.

This is a very good DVD btw … the pdf for the DVD is here for anyone interested: http://www.donmockguitar.com/pdf/Jaz...hythmChops.pdf

Digging up an old thread. Gersdal (or anyone else) - do you know if there is a PDF available of all the grips he blasts through in that DVD? He's got some cool voicings that I'd like to cop. But I'm entirely too lazy to go through them, pause the video, and write them down.

Side note. Is anyone else made really nervous by watching him in this video? I'm not accusing or saying anything here, but I'll just say he seems - jittery.

[gersdal]

Digging up an old thread. Gersdal (or anyone else) - do you know if there is a PDF available of all the grips he blasts through in that DVD? He's got some cool voicings that I'd like to cop. But I'm entirely too lazy to go through them, pause the video, and write them down.

Side note. Is anyone else made really nervous by watching him in this video? I'm not accusing or saying anything here, but I'll just say he seems - jittery.

He made a better pdf on his web site. I have it somewhere, but I think you can rather easily find it there (better than waiting for me to sort things out ).

[gersdal]

http://www.donmockguitar.com/pdf/JazzGuitarRhythmChops.pdf

[JonnyPac]

This might simplify things with borrowed chords in general:

Think of the circle of 4ths diagram (with the relative minors on the inside):The tonic I chord is in the outer middle, IV chord is to the right, and the V chord is to the left. The tonic iv chord is in the inner middle, the ii chord is to the right, and the iii chord is to the left. The parallel keys are the adjacent keys. For example F Major (D Minor) and G Major (E Minor) are the parallel keys of C Major (A Minor). Chords are often “borrowed” from these nearby keys.

Many standard chord progressions consist of chords built mainly from a central key and a few “borrowed” chords from its parallel keys. This means that jazz musicians must be able to temporarily modulate in and out of several keys on a measure by measure basis in order to choose accurate voicings and lead lines. The most common borrowed chords are known as “secondary dominants”. Secondary dominants are basically V7 chords and III7 (Phrygian dominant) chords that are used to “tonicize” the secondary chords from the original key. Just like the V7 chord leads to the I chord in a perfect cadence, a secondary dominant can lead to any other chord in the key.

The basic chords in the key of C Major are: C, Dm, Em (or E7 Phrygian Dominant), F, G, Am, and B half-dim.
G7 leads to C because it is a perfect cadence from V7 to I, and E7 leads to Am because the III7 chord pulls toward the vi chord in a similar way. In order to make the other chords pull towards one another, dominant seventh chords must be borrowed from other keys (usually one sharp or flat away in the key signature).

· A7 leads to Dm. A7 is the III7 from the key of F Major and it pulls toward Dm (the ii chord of C Major) as if it were the vi chord of F Major. This is written as III7/ii.
· B7 leads to Em. B7 is the III7 from the key of G Major and it pulls toward Em (the iii chord of C Major) as if it were the vi chord of G Major. This is written as III7/iii.
· C7 leads to F. C7 is the V7 from the key of F Major and it pulls toward F (the IV chord of C Major) as if it were the I chord of F Major. is be written as V7/IV.
· D7 leads to G. D7 is the V7 from the key of G Major and it pulls toward G (the V chord of C Major) as if it were the I chord of G Major. This is written as V7/V.

· Note that V7 secondary dominants lead up by a perfect fourth to major chords, and III7 secondary dominants lead up by a perfect fourth to minor chords.

This is an example of V7 secondary dominants used in a country-folk style chord progression. "Home on the Range"

|C |C7 |F |F |C |D7 |G7 |G7 |C |
is
|I |V7/IV |IV |IV |I |V7/V |V7 |V7 |I |

This is an example of V7 and III7 secondary dominants used in a swing-jazz style chord progression. "Doxy" comes to mind.
(These chords could be alternatively interpreted as a “back-cycling” progression.)

|C |A7 |D7 G7 |C |
is
|I |III7/ii |V7/V V7 |I |

Secondary dominants are subject to deceptive (interrupted) cadences. For example, the V7/V in this classic folk-rock chord progression does not resolve to G7 (the V chord) as expected, instead it goes to F (the IV chord). "House of the Rising Sun"

|Am |C |D7 |F |Am |
is
|vi |I |V7/V |IV |vi |

Hope that helps. I'll add a bit more on back-cycling and the blues later...

[JonnyPac]

Back-Cycling:

“Back-cycling” describes a chord progression in which there are several dominant seventh chords (V7s or III7s) that lead (usually up by a perfect 4th) from one to another, and then finally resolve to the targeted chord. For example:

|E7 |A7 |D7 |G7 |C |
is
|V7/V |V7/V |V7/V |V7 |I |

E7 is V7 of A, A7 is V7 of D, D7 is V7 of G, and G7 is V7 of the tonic chord C.

In many jazz styles, iim7 chords are put in front of each V7 chord. For example, this is the same progression from above with the borrowed ii chords added:

|Bm7 E7 |Em7 A7 |Am7 D7 |Dm7 G7 |C |
is
|iim7/V V7/V |iim7/V V7/V |iim7/V V7/V |iim7 V7 |I |

Also in many jazz styles, vii half-diminished chords are put in front of III7 chords. For Example:

|F#m7b5 |B7 |Bm7b5 |E7 |Am |
is
|viim7b5/V |III7/V |viim7b5 |III7 |vi |

[JonnyPac]

Sorry I'm a bit long winded in this whole topic...

Blues Part 1: Basic 12 Bar Blues Progressions

I believe in certain ways the blues defies music theory. The chords, minor pentatonic scale, and cliché riffs do not always go together in a harmonically strict way. Some players refer to the bi-tonal clashes as “blue notes”. In the end, it is more about the feel and phrasing than anything else. Listening is the best method for learning the blues.

With that said, it is still worthwhile to analyze the chords to gain a deeper understanding of the form. Many teachers and texts say that the blues is a basic I, IV, V progression. This is not true, and it may even give beginning students permanent theoretical misconceptions that will make their future attempts at chord-scale analysis unnecessarily challenging.

This example is how the basic major 12 bar blues is usually taught “in the key of A” (which is also a bit inaccurate):

|A7 |A7 |A7 |A7 |
|D7 |D7 |A7 |A7 |
|E7 |D7 |A7 |E7 |
is inaccurately written as
|I7 |I7 |I7 |I7 |
|IV7 |IV7 |I7 |I7 |
|V7 |IV7 |I7 |V7 |

The problem is that the I and IV chords are written as dominant seventh chords. As the diatonic modal system verifies, Ionian and Lydian modes cannot create chords with b7ths. The only correct Roman numeral written above is the V7 chord, which is built from a Mixolydian mode. All three of the basic major blues chords are, in fact, Mixolydian chords; they are dominants from three different keys. The A7 chord is V7 of D Major, the D7 chord is V7 of G Major, and the E7 chord is V7 of A Major.

Part 2: Basic Jazz Style 12 Bar Blues

This is the standard set of changes for a Bb jazz blues. Of course, it gets modified pretty drastically by most players.

|Bb7 |Eb7 |Bb7 |Fm7 Bb7 |
|Eb7 |A7b9/E |Bb7 |Dm7b5 G7b9 |
|Cm7 |F7 |Bb7 G7b9 |Cm7 F7 |

The Bb7s are V7 of Eb Major, the Eb7s are V7 of Ab Major, the Fm7 and Bb7 are ii-V7 of Eb Major, the A7b9/E is III of F Major (Not Dim7!!!), the Dm7b5 and G7b9 are vii-III7 of Eb Major, the Cm7s and F7s are ii-V7 of Bb Major. Again, the blues is mostly in three different keys. Notice the iim7-V7, and the viim7b5-III7 progressions that are used to tonicize the upcoming chords.


So... about the EXTENSIONS: play the corresponding chord-scale or "parent scale" for each change. If it's a V chord: Mixolydian based extensions: 9, and 13. And if it's a III chord: Phrygian Dominant (V mode of the harmonic minor) based extensions: b9, (#9), and b13. Pretty simple from there.

[Reg]

Imaj7, VI-7, II-7, V7
You have to start somewhere... This would be the diatonic progression...right
As said above...secondary dom. chords resolve to Diatonic chords other than I,
Extended Dom. resolve down P5th or up P4, but not to diatonic chords. They resolve or go to....Secondary Doms, another extended Dom. or the related II- of another extended or secondary Dom.
E7, A7, D7, Gmaj7....E7 is extended Dom., A7 is secondary Dom. or V7/V7. G7 is V7 of Imaj7 or Gmaj7. This is one method of analysis... there are many more. There is no set of scale choices for Dom. chords that covers all situations... there are many...
You need context or more than chords to have analysis work...
But if we call G7 our I chord, in jazz we have no problem hearing Dom 7th chords as I chords... we use modal interchange to sub. different modal content to existing chords a lot... anyway you could look or analysis your simple series of Dom chords a few ways, even say they have duel function... Usually for one to say there is modulation or new key of the moment...there is usually a somewhat strong expectation of a new I chord. The example is not what I would hear as any type of modulation. The progression I,VI,II,V, is what is sometimes called... a chord pattern..
I, VI-7, II-7, V7 or C, A-7, D-7, G7
I, V7/II, II-7, V7 or C, A7, D-7, G7
I, V7/V, II-7, G7 or C, D7, D-7, G7 there are many more, there frequently used chord progressions or patterns with chord usually of equal duration.
So with out any context except the chords, most will hear as standard I, VI, II, V turnaround with dom chords. All this is in a JAZZ CONTEXT... NOT POP or CLASSICAL.
The Berklee reference charts are simple the most common uses of secondary and extended Dominant chords used in jazz tunes up to mid to late 70's... In the last 30 years there have been many different harmonic choices used...
A small note... when a chord symbol says D7... it implies all the chord tones of D7, including the 5th. Notation of chords symbols should imply complete harmonic content... but many time the composer or arranger doesn't know or doesn't take the time to notate because he/she believes is obvious.

Hey Jonny Pac... where did you come up with your standard jazz/blues changes... most Jazz players I know pull from MM or actual harmonies influenced from blue notes... I hear and see HM used by rock, pop or classical blues players... generally. Is a great topic and fairly simple example to demonstrate different choices of harmonic sources by different styles of players... Maybe different thread... Blues are generally not secondary or extended Doms... although they can be used. I like your approach and you present it well, even though I hear differently... thanks Reg

[gersdal]

So... about the EXTENSIONS: play the corresponding chord-scale or "parent scale" for each change. If it's a V chord: Mixolydian based extensions: 9, and 13. And if it's a III chord: Phrygian Dominant (V mode of the harmonic minor) based extensions: b9, (#9), and b13. Pretty simple from there.

Thanks for your extensive input.

My original question was about a statement made in Don Mock’s DVD Jazz Guitar Rhythm Chops:
In a standard jazz blues progression…
| G7 | C7 | G7 | G7 | C7 | C7 | G7 | E7 | A7 | D7 | G7 E7 | A7 D7 |
… he explains that the first E7 is a secondary dominant, and since it is a secondary dominant you can’t put any kind of extensions on it. Altered extensions are good, but straight 9, 11 and 13 are no-no... he continues to the A7 chord he explains that you can do whatever you want with that.

IMHO that all sounded a bit strange. I do regard both the E7 and the A7 as secondary dominants, and I think that is also what you are indicating. I also normally add alterations both on the E7 and the A7 as I wish.

So the question from me would be: What is your conclusion? Would you regard the E7 takes what you call mixolydian based extensions, and the A7 to take both mixolydian and MM as Don Mock?

Or would you more than willingly play E7#9 - A13 - D7#9 or other radical (?) versions of alterations like me?

[JonnyPac]

Thanks for your extensive input.

My original question was about a statement made in Don Mock’s DVD Jazz Guitar Rhythm Chops:
In a standard jazz blues progression…
| G7 | C7 | G7 | G7 | C7 | C7 | G7 | E7 | A7 | D7 | G7 E7 | A7 D7 |
… he explains that the first E7 is a secondary dominant, and since it is a secondary dominant you can’t put any kind of extensions on it. Altered extensions are good, but straight 9, 11 and 13 are no-no... he continues to the A7 chord he explains that you can do whatever you want with that.

IMHO that all sounded a bit strange. I do regard both the E7 and the A7 as secondary dominants, and I think that is also what you are indicating. I also normally add alterations both on the E7 and the A7 as I wish.

So the question from me would be: What is your conclusion? Would you regard the E7 takes what you call mixolydian based extensions, and the A7 to take both mixolydian and MM as Don Mock?

Or would you more than willingly play E7#9 - A13 - D7#9 or other radical (?) versions of alterations like me?

I'm not familiar with the DVD, but this is my take on that basic progression:

| G7 is G Mixolydian | C7 is C Mixolydian |
Same: G7 | G7 | C7 | C7 | G7
| E7 is III/ii (E Phrygian Dom.)| A7 is V/V: A Mixolydian |
D7 V of G: D Mixolydian|
Same: G7 E7 | A7 D7 |

This might sound nice and pretty "inside":
G13 | C13 | G13 | % |
C13 | % | G13 | E7b9 (or #9) b13 |
A13 | D13b9 | G13 E7#9 | A13 D#9 |

(D13b9 and/or D7#9 from dim octatonic scale; a great V chord reharmonization) |

[JonnyPac]

These would be the basic chords I'd play over a jazz blues "in G":
|G13 |C13 |G13 |Dm9 GAlt |
|C13 |F#7b9/C# |G7/D |Bm7b5 E7b9b13 |
|Am9 |D13b9 |Bm7b5 E7b9b13 |Am9 D13b9 |

[JonnyPac]

Hey Jonny Pac... where did you come up with your standard jazz/blues changes... most Jazz players I know pull from MM or actual harmonies influenced from blue notes... I hear and see HM used by rock, pop or classical blues players... generally. Is a great topic and fairly simple example to demonstrate different choices of harmonic sources by different styles of players... Maybe different thread... Blues are generally not secondary or extended Doms... although they can be used. I like your approach and you present it well, even though I hear differently... thanks Reg

The changes I posted are pretty standard for a blues that is jazzy but not too jazzy, if you know what I mean. MM really got rolling in the 60's. The bebop changes use more HM on the secondary dominants. Using the dim scale on V chords is a common enough bird outline too.

I love the MM system, but I save it for where it is most appropriate, or where the composer intended it to be. I always write it into my own tunes.

[Reg]

I think that was the point... they finally figured out what they were trying to play and where the harmonic material was coming from... When you approach jazz/blues tunes with swing show tune harmonies... that's what it sounds like. That's not a bad thing... but when you start looking at a standard turnaround as individual extended and secondary dominants...you might be missing something. The line or melody would determine the extensions or tensions...what ever we want to call the rest of the chord tones beyond the 7th. I personally use modal interchange to influence my choice of harmonic area rather than dom. or tri-tone resolution guide lines. And when I'm playing with a blues influence...or a jazz/blues... the blue notes have a major influence on harmonic areas... or what chords I play, all the chord tones. There are many ways to determine what chords or what sources for solo material you could play on a simple blues tune... Not one.

[ubiguitar]

Whew...I'll try and clear this up for you (I'll get to why I quoted this dude in a bit). For some reason you guys are making this very hard. I'll start off with some basic information that you may or may not already know, and then finally answer your question about "extensions." I know this post is long, but I guarantee this and therefore many other things will be clear as day by the end of it.
Firstly, a secondary dominant is a 7 chord that isn't a V7 (the "primary" dominant"), and it resolves down a 5th. If not, it is resolving deceptively. You can think of it as transposing to a new key for a moment, ie, the progression G7 C7 G7 E7 A7 D7 is in G, which then goes to the key of A for the E7 (E7 being the V) and then resolving down a 5th to the A7 (which is now in the key of D, where A7 is the V), and finally down another 5th to D7, which is back in the key of G. G7 and C7 in this case are called "non-dominant dominants." I7 only really occurs in the blues, and IV7 also only tends to. Your ear doesn't expect them to go anywhere (except for IV7 to go down to I7), hence the term "non-dominant" dominants.
A subdominant is a tritone substitution. It tends to move down a half step. If not, again, it is moving deceptively. For example, in the key of C, Db7 is called a subV7, because it is a substitution for G7. Ab7 is the subV7/V, because it is "subbing" for D7, the V7/V. Ab and D are a tritone apart. Pretty simple. Also, fun fact, subVs use the lydian dominant scale (1-2-3-#4-5-6-b7).
Now to the above quote. He says he thinks of the E7 (V7/II) as a secondary subdominant. I have a few problems with this.
1) I've never heard anyone call a chord a "secondary" subdominant. I can see why you would call it that, seeing as it's a substitution for a secondary dominant. But as far as I know, people simply call them subdominants. To each his own.
2) Why exactly would you call a V7/II a subdominant in the first place? You guys are making this WAY too difficult...it's I7 V7/II V7/V V7...RHYTHM CHANGES! It's the oldest string of dominant chords in all of jazz. Also, seeing as subdominants (nearly always) resolve down a half-step, that doesn't make any sense. You could do some different progressions to make it or one of the surrounding chords a subdominant, but seeing as all of these chords' roots are diatonic to G, I think it's pretty obvious that they're all secondary dominants.
Another fun fact: Secondary dominant roots are diatonic to the parent scale, subdominants are chromatic.

FINALLY, to answer your original question about tensions (not extensions, but tensions) you have to look at the chord scale for the chord.
E7=V7/II=some sort of mixolydian scale.
E mixo=E F# G# A B C# D
Now, you need to change it in order to make it as close to the tonic scale (G Mixo) as possible. You have to keep E, G#, and D, but the others can change at will. Keep all the tones that are diatonic or necessary, and you're left with:
E G# A B D
No 9 or 13. Neither F# or C# are diatonic to G mixo. So, we must alter them to F and C, which creates the chord scale Mixo b9/b13. And since you probably don't want a weird minor 3rd between your b9 and 3, most people add in #9 as well to smooth things out. Also, b9 and #9 are interchangeable, so there ya go.
The new scale is E F G G# A B C D: Mixo b9/b13, sometimes called Spanish Phrygian.
And yes, I'm aware that G should technically be F#.

That is how you should go about figuring what chord scale, and therefore tensions, can be played on any chord.
One more fun fact: You can substitute Superlocrian for Mixo b9/b13, because they have the same tensions.

Hope that helped dude.
Smitty

Just my little contribution:

Take a look at this section: ...| E7 | A7 | D7 | G7...

- a secondary dominant needs: to resolve to a diatonic chord (a fifth below), at least 1 non diatonic chord tone, the root is diatonic so E7 is not a secondary dominant in standard way!
- secondary dominants takes remaining scale tone from tonality they belong: depending on chord you may have mixolydian, mixolydian b13, mixolydian b9, mixolydian b9, b13 or altered scale. The fourth is usually avoided!!!

- when you have a cascade of dominant chords (this is the case) you have not a secondary dominants. These are called sequential dominants. The main aspect is that they are not diatonically oriented! You're expected to hear another dominant or a diatonic resolution.
- In sequential dominant only the starting and ending chords can be read diatonically (as dominant or secondary dominant). Starting one can be a secondary dominant or not depending on harmonic rhythm.
- Inner chord are read only as V/V so they need always mixolydian scale

Summary is that: E7 is not a secondary dominant for A7 but because it is a starting chord in a dominant sequence...

This is usual harmonic interpretation.

Hope this help

[JonnyPac]

Hey Jonny Pac... where did you come up with your standard jazz/blues changes... most Jazz players I know pull from MM or actual harmonies influenced from blue notes... I hear and see HM used by rock, pop or classical blues players... generally. Is a great topic and fairly simple example to demonstrate different choices of harmonic sources by different styles of players... Maybe different thread... Blues are generally not secondary or extended Doms... although they can be used. I like your approach and you present it well, even though I hear differently... thanks Reg

Hey Reg, you mention that you hear certain things differently pretty often, but you seem to withhold what exactly the difference is. You've got me curious in general about your ear. Perhaps you can start a thread (or direct me and others) about yourself and your approach. If you have a website, videos, or other cool links, let us know! Thanks, and best wishes.

[Robertkoa]

I remember the designation IV of IV in "Harmony" by Walter Piston so secondary subdominants are a fairly common analysis in classical music.

The common bVII Major common rock chord could be considered IV of IV.

Though definitely not an authority on this subject , I'm pretty sure that most of us could voice the non altered extensions chord in the example so it would work, perhaps, it's easier to use an altered voicing to his ear in that context.

You know how some progressions only "work" with a fairly specific voicings and others are more "universal"-so strong that you can voice them almost any way and they'll still flow together?- Maybe that's what Mock was implying, and a secondary dominant of a minor chord would often be an altered dominant, right ?