MU Volume 2 - Section 1 Secondary Dominants and Borrowed Chords (Ch 2)

Question 1

Describe the purpose of secondary dominant chords harmonic progression.

Answer 1

Secondary dominants provide harmonic progression with a greater sense of movement, direction, and color by borrowing the dominant from another key.

Question 2

Define tonicization

Answer 2

Tonicization is the compositional method of making a chord sound like the tonic for a brief moment without changing the key. It is not to be confused with a change of key or modulation.

Question 3

How are secondary dominants analyzed in harmonic analysis?

Answer 3

Secondary dominants are analyzed using two Roman numerals separated by a slash, with the top numeral reflecting the function and quality of the chord, and the bottom numeral reflecting the secondary chord relation.

Question 4

Do secondary dominants in Major have at least one pitch that is foreign to the key?

Answer 4

Yes, secondary dominants in Major will have at least one pitch that is foreign to the key, and the most common form is the V/V or the V7/V.

Question 5

Describe the use of V/IV as a secondary dominant in Major.

Answer 5

The use of V/IV is a possibility, but it is not the best option because V/IV is identical to tonic (I) of the key. Composers may add a 7th to the secondary dominant of the IV (V7/IV) to give greater clarity to tonicization.

Question 6

What is the difference in the characteristics of secondary dominants in Minor compared to Major?

Answer 6

In Minor, the V/III and V7/III are not chromatically altered and are identical to the VII and VII7, respectively. The V/VI is normally analyzed as the III vice a secondary dominant.

Question 7

Describe the process for constructing a secondary dominant.

Answer 7

The process involves identifying the chord being tonicized, going up a perfect 5th, and building the appropriate Major triad or dominant 7th chord.

Question 8

How can secondary dominants be recognized within a harmonic structure?

Answer 8

They can be recognized by looking for chromatic alterations within the vertical harmonic structure of an individual chord or triad.

Question 9

Define tonicization with the 7th.

Answer 9

It refers to the occurrence of primary and secondary triads with their dominant 7th tone available for tonicization by a secondary dominant.

Question 10

Do secondary dominants move differently than regular V7 or V chords?

Answer 10

No, they are typically treated the same as regular V7 or V chords, especially with regards to voice leading. Leading tones up, 7ths down.

Secondary dominant 7ths to another 7th chord may resolve down chromatically

Question 11

Describe the concept of dominant substitution (Tritone Substitution).

Answer 11

It involves tonicizing a chord or triad with a dominant constructed on a root a diminished fifth (or tritone) above the dominant.

Question 12

How do tendency tones contribute to the substitute dominant function of tritone subsitutions?

Answer 12

The prescence of both tendency tones in each chord.

For example: In C major, F and B pull to the mediant and tonic respectively. These notes are present in both the G7 (V7: G B D F), and the Db7 (subV7: Db F Ab Cb)

Question 13

Define secondary leading tone chords and their relationship to secondary dominants.

Answer 13

Secondary leading tone chords are chords tonicized by borrowing the leading tone from another key. They may be constructed as fully diminished or half-diminished chords. They move in the same manner as secondary dominants.

Question 14

How are secondary leading tone chords constructed for minor and major triads?

Answer 14

For minor triads, fully diminished 7th secondary leading tone chords (viio7/) are used, while for major triads, viio7/ or viiø7/ are used, with viio7 being more widely used.

Question 15

Describe the functionality of viio7/III and viiø7/III in the context of secondary leading tone chords.

Answer 15

The viio7/III and viiø7/III are identical to the diatonic iio and iiø7, but their functionality is determined by their use and context within the music, particularly in relation to what is tonicized.

Question 16

What is the exception to the principle that any chord or triad tonicized by a secondary dominant may also be tonicized by a secondary leading tone?

Answer 16

The exception is the absence of a half-diminished leading tone seventh chord of V (vii ø7/V), which does not follow the general principle of secondary leading tone chords.

Question 17

What is the process for constructing Secondary Leading Tone Chords

Answer 17

Identify the chord being tonicized.

Go down a minor 2nd or identify the leading tone of the tonicized chord.

Using the identified note, build the diminished triad, o7, or ø7.

Question 18

Define secondary leading tone chords and how to recognize them.

Answer 18

Secondary leading tone chords are recognized by looking for chromatic alterations within the vertical harmonic structure and ensuring it is not a secondary dominant.

Question 19

How can mode mixture be used in creating harmonic progression?

Answer 19

Mode mixture involves borrowing chords from a parallel key, creating color, forward movement, and interest within a harmonic progression.

Question 20

Describe the most common method of mode mixture.

Answer 20

The most common method is to borrow from the parallel minor when writing a chord progression in Major or to borrow from the parallel Major when writing a chord progression in minor.

Question 21

What are the two most common borrowed chords when borrowing from parallel Major in minor?

Answer 21

The two most common borrowed chords are the Dominant (V) and Tonic (I).

Question 22

Describe the practice known as a Picardy third.

Answer 22

Ending a composition or important phrase in a minor mode by replacing the minor tonic with the Major tonic during the baroque period.

Question 23

Do borrowed chords follow normal voice leading principles and those that apply to secondary dominants?

Answer 23

Yes, borrowed chords should always follow normal voice leading principles and those that apply to secondary dominants.

Question 24

Define borrowed chord and its usage in music composition.

Answer 24

A borrowed chord is inserted into the progression along with its ‘like’ diatonic chord, and it is used to create chromatic alterations and resolve appropriately.

Question 25

How should borrowed chords with an altered root be approached in music composition?

Answer 25

Careful consideration should be taken so that the harmonic structure of the borrowed chord does not create parallel movement.

Question 26

Describe the role of common tone diminished seventh chords in music composition.

Answer 26

Common tone diminished seventh chords are chromatic non-functional chords that usually assume the role of either passing or neighbor harmony, often embellishing tonic or dominant/dominant seventh chords and their inversions.

Question 27

Do common tone diminished seventh chords function or resolve in the same way as secondary leading tone or the German Augmented sixth chords?

Answer 27

No, common tone diminished seventh chords do not function or resolve in the same way as secondary leading tone or the German Augmented sixth chords.