Secondary Leading Tones to V

Question 1

secondary leading tones to V

Answer 1

• because it is a substitute for the V, it is possible to have a /V as well (it’s the same altered note as before…the new leading tone)

Question 2

the process is the same

Answer 2

• think of the V chord as a I chord
• raise the submediant (#4) to create the root of the /V chord
• • yes, you can have half and fully diminshed 7th chords here
• • yes, all voice leading & part writing rules sitll apply to a diminished chord
• double the third NOT the leading tone, you should never double the leading tone

Question 3

resolutions

Answer 3

• the trick is to remember that this is a new tonal area. do not think of these isolated sections in terms of the key signature
• most of the time, the diminshed seven chord will be in first inversion
• • we can get by in root position every now and then
• raise the leading tone, and resolves up to the new tonic
• it is okay for a diminished fifth to move to a perfect fifth
• the seventh likes to resolve down
• in minor, keep track of:
• • leading tone (raised 4th)
• • raise the 6th to create a minor third
• in major
• • add a flat, to create the fully diminshed seven chord
• • raise the root, lower the seventh make the fully diminshed seven of V
• always better to keep chromatic movement in the same voice. no cross relationship
• there are many possibly secondary chords that can be used correctl, these are some of the more common ones

Question 4

because they share many of the same notes and functions, viio/V can substitute for __________ in almost any situation

Answer 4

• V/V

Question 5

listen tot he audio clip and determine do you hear a V/V or a viio/V?
hint: quality matters

Answer 5

• V/V

Question 6

it is sometimes acceptable to double the leading tone

Answer 6

• false

Question 7

in the key of D Minor, the viio/V is rooted on

Answer 7

• G#