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enter image description here

if you see at the 5th measure from the photo, there is a question mark.

How did that F#7/A# came out all of a sudden ?

Was it possible because at the measure before there is a bass movement moving down from B ? so that makes it a half step movement ?

or is it just possible that Secondary Dominants could come out of nowhere all of a sudden ?

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Yes, It's possible that secondary dominants can come out of the blue all of a sudden. While the chromatic bassline definitely supports those harmonies, I don't think it's necessary in order for those chords to be used.

In this case, the F#(7)/A# starts off a long chain of secondary dominants, so it sounds even stranger. Such long chains of secondary dominants aren't unheard of, though: see the ragtime progression for more details.

  • Ups, I wrote this answer 5 hours ago and was interrupted to send. Now I’m afraid my answer doesn’t give any new information but exactly the same as Dekkadeci’s. – Albrecht Hügli Feb 23 at 15:31
  • What do you mean by " I don't think it's necessary in order for those chords to be used. " ? – Hyun Yoo Park Feb 23 at 15:31
  • @HyunYooPark - I mean that I don't think a chromatic bassline is necessary in order to kick off a secondary dominant chain like in the example. – Dekkadeci Feb 24 at 8:06
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or is it just possible that Secondary Dominants could come out of nowhere all of a sudden ?

Yes, secondary dominants have this properties.

And mind the chord progression: measure 4 - 8, this is an entire cadence of secondary dominants following the circle of fifths. This progression is quite usual in all epoques and styles of music.

  • what do you mean by "And mind the chord progression: measure 4 -" ? – Hyun Yoo Park Feb 23 at 15:25
  • sorry, as I had no internet the second part of my answer has been deleted. I will edit. – Albrecht Hügli Feb 23 at 15:36

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