1:2 Secondary Dominants & Borrowed Chords Flashcards

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1
Q

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.

A

Secondary Dominant

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2
Q

What is the purpose of the secondary dominant?

A

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

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3
Q

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

A

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

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4
Q

Which qualities of chords can be tonicized?

A

Major or minor

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5
Q

two Roman numerals separated by a slash in harmonic analysis represent

A

Secondary dominants

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6
Q

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

A

Chromaticism

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7
Q

Chords that apply chromaticism are

A

Altered chords

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8
Q

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

A

Major and Minor

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9
Q

What is the most common form of secondary dominants?

A

V/V and V7/V

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10
Q

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

A

It is identical to the tonic of the key.

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11
Q

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

A

In order to give greater clarity to tonicization.

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12
Q

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

A

Yes; and they are not chromatically altered.

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13
Q

How is the V/VI normally analyzed?

A

III vice a secondary dominant

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14
Q

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

A

No

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15
Q

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

A

Only in a descending line

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16
Q

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

A

Secondary dominants

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17
Q

How are secondary dominants treated with voice leading?

A

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

18
Q

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

A

The leading tone may move down chromatically

19
Q

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

A

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

20
Q

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

A

Yes

21
Q

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

A

Secondary leading tone chords

22
Q

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

A

the fully diminished 7th leading tone chord

23
Q

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

A

the fully or half diminished 7th secondary leading tone chord

24
Q

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

A

the fully diminished quality

25
Q

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

A

Secondary dominants

26
Q

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

A

mode mixture

27
Q

What is mode mixture used for?

A

Creating color, forward movement and interest within a harmonic progression

28
Q

What is the most common method of mode mixture?

A

borrowing from the parallel major when writing in minor

29
Q

The two most common borrowed chords in mode mixture are:

A

I and V

30
Q

The vii fully diminished 7th should always resolve

A

to the tonic

31
Q

Review Questions

Secondary dominants give the impression of which progression?

A

V-I

32
Q

Review Questions

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

A

Tonicization

33
Q

Review Questions

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

A

Chromaticism

34
Q

Review Questions

The chord quality of a secondary dominant will always be:

A

Dominant

35
Q

Review Questions

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

A

Picardy 3rd

36
Q

Review Questions

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

A

Minor 2nd

37
Q

Review Questions

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

A

Mode mixture

38
Q

Can a secondary dominant be built on the leading tone?

A

No - only the subtonic (VII)

39
Q

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

A

No - only the dominant (V)

40
Q

Can a secondary dominant be built on III ?

A

Yes - iii and III

41
Q

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

A

It can be either one.