1:2 Secondary Dominants & Borrowed Chords

Question 1

A triad or dominant seventh chord built upon the dominant of supertonic (ii), mediant (iii, III), subdominant (iv, IV), dominant (V), submediant (vi, VI), and subtonic (VII) of the prevailing key.

Answer 1

Secondary Dominant

Question 2

What is the purpose of the secondary dominant?

Answer 2

to provide harmonic progression with a greater sense of movement, direction, and color.

Question 3

Compositional method using secondary dominants to create a V-I effect for a very brief moment

Answer 3

Tonicization - not to be confused with change of key or modulation.

Question 4

Which qualities of chords can be tonicized?

Answer 4

Major or minor

Question 5

two Roman numerals separated by a slash in harmonic analysis represent

Answer 5

Secondary dominants

Question 6

A secondary dominant will generally have at least one note chromatically altered that is foreign to the current key. This is known as:

Answer 6

Chromaticism

Question 7

Chords that apply chromaticism are

Answer 7

Altered chords

Question 8

Secondary dominants will be used to precede only which qualities of chords?

Answer 8

Major and Minor

Question 9

What is the most common form of secondary dominants?

Answer 9

V/V and V7/V

Question 10

Which consideration should be taken when using the V/IV?

Answer 10

It is identical to the tonic of the key.

Question 11

Why would a composer add the 7th to the secondary dominant of the IV (V7/IV) ?

Answer 11

In order to give greater clarity to tonicization.

Question 12

Are the V/III and V7/III still an option as a secondary dominant even though they are identical to the VII and VII7?

Answer 12

Yes; and they are not chromatically altered.

Question 13

How is the V/VI normally analyzed?

Answer 13

III vice a secondary dominant

Question 14

Can the following secondary dominants be used in second inversion?
V/ii. V7/ii. V/iii. V7/iii. v/v. v7/v

Answer 14

No

Question 15

Can the V/VI. V7/VI be used in second inversion?

Answer 15

Only in a descending line

Question 16

Which kinds of chords can be recognized by looking for chromatic alterations within the vertical harmonic structure of an individual chord or triad?

Answer 16

Secondary dominants

Question 17

How are secondary dominants treated with voice leading?

Answer 17

Same as regular dominants: leading tone resolves up and the 7th resolves down

Question 18

If a secondary dominant 7th is resolving to another 7th chord, what will change in the voice leading?

Answer 18

The leading tone may move down chromatically

Question 19

Is it possible for a secondary dominant to tonicize an altered chord?

Answer 19

Yes, the tonicized chord may be altered in order to become a secondary dominant

Question 20

Can a chord that is tonicized by a secondary dominant also be tonicized by a secondary leading tone?

Answer 20

Yes

Question 21

Which kind of secondary chords can be constructed as fully diminished or half-diminished chords?

Answer 21

Secondary leading tone chords

Question 22

When tonicizing a minor chord, which quality of secondary leading tone chord should be used?

Answer 22

the fully diminished 7th leading tone chord

Question 23

When tonicizing a major chord, which quality of secondary leading tone chord should be used?

Answer 23

the fully or half diminished 7th secondary leading tone chord

Question 24

Of secondary leading tone 7th chords, which quality is more widely used?

Answer 24

the fully diminished quality

Question 25

Secondary leading tone chords move in the same manner as which kinds of chords?

Answer 25

Secondary dominants

Question 26

A compositional device that refers to borrowing chords from the parallel key

Answer 26

mode mixture

Question 27

What is mode mixture used for?

Answer 27

Creating color, forward movement and interest within a harmonic progression

Question 28

What is the most common method of mode mixture?

Answer 28

borrowing from the parallel major when writing in minor

Question 29

The two most common borrowed chords in mode mixture are:

Answer 29

I and V

Question 30

The vii fully diminished 7th should always resolve

Answer 30

to the tonic

Question 31

Review Questions | Secondary dominants give the impression of which progression?

Answer 31

V-I

Question 32

Review Questions | What is the compositional method used to give a momentary tonic sound to a chord?

Answer 32

Tonicization

Question 33

Review Questions | What is the term used to describe a harmony with chromatic alterations?

Answer 33

Chromaticism

Question 34

Review Questions | The chord quality of a secondary dominant will always be:

Answer 34

Dominant

Question 35

Review Questions | When the tonic chord is borrowed from the Major and is used in place of the I, it is called a

Answer 35

Picardy 3rd

Question 36

Review Questions | A secondary leading tone chord is constructed on which interval below its target chord?

Answer 36

Minor 2nd

Question 37

Review Questions | The technique that uses chords borrowed from a parallel key is known as

Answer 37

Mode mixture

Question 38

Can a secondary dominant be built on the leading tone?

Answer 38

No - only the subtonic (VII)

Question 39

Can a secondary dominant be built on flat 5 (v)?

Answer 39

No - only the dominant (V)

Question 40

Can a secondary dominant be built on III ?

Answer 40

Yes - iii and III

Question 41

Is a secondary dominant a triad or a dominant 7th?

Answer 41

It can be either one.