Section 1 (Theory/Harm) - Secondary Dominants

Question 1

what is a secondary dominant?

Answer 1

a triad or dominant seventh chord built upon the dominant of the II, iii, III, iv, IV, V, vi, VI, VII.

Question 2

what is the purpose of a secondary dominant?

Answer 2

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

Question 3

what is the compositional method for secondary dominants called?

Answer 3

tonicization, not to be confused with a change of key or modulation.

Question 4

what kind of chord can you tonicize with?

Answer 4

major and minor quality only

Question 5

what do the two roman numerals represent

Answer 5

the top reflects the function and quality of the chord

the bottom reflects the secondary chord relation

Question 6

what is a common interpretation of a secondary dominant

Answer 6

blank of blank

example: V7/ii five seven of two

Question 7

what is chromaticism?

Answer 7

at least one chromatically altered note that is foreign to the current key.

Question 8

how many chromatic notes does a secondary dominant have

Answer 8

at least one

Question 9

what are chords that apply chromaticism?

Answer 9

altered chords

Question 10

how many pitches in a secondary dominant is foreign to the key?

Answer 10

at least 1

Question 11

what are the two most common secondary dominants?

Answer 11

V/V or V7/V

Question 12

what is the V/IV identical to in major

Answer 12

tonic of the key

not a good option

Question 13

why is the 7 added to the V/IV in major

Answer 13

to give greater clarity to tonicization

Question 14

in minor why are the V/III and V7/III not chromatically altered

Answer 14

theyre identical to the VII and VII7

Question 15

what is the V/VI analyzed as what in minor

Answer 15

III

Question 16

what inversions can be used with V/ii or V7/ii

Answer 16

any inversion except 2nd

Question 17

what inversions can be used with V/iii or V7/iii

Answer 17

any inversion except 2nd

Question 18

what inversions can be used with V/III or V7/III

Answer 18

Any inversion

Question 19

what inversions can be used with V/iv or V7/iv

Answer 19

any inversion

Question 20

what inversions can be used with V7/IV

Answer 20

any inversion

Question 21

what inversions can be used with V/V or V7/V

Answer 21

major: any inversion
Minor: any inversion except 2nd

Question 22

what inversions can be used with V/vi or V7/vi

Answer 22

any inversion

Question 23

what inversions can be used with V/VI or V7/VI

Answer 23

any inversion except 2nd inversion

only used in a descending melodic line

Question 24

what inversions can be used with V/VII or V7/VII

Answer 24

Any inversion except 2nd

Question 25

what secondary dominants use any inversion

Answer 25

V/III, V7/III, V/iv, V7/iv, V7/IV, V/vi, V7/vi | major; V/V V7/V

Question 26

what secondary dominants use any inversion except 2nd

Answer 26

V/ii, V7/ii, V/iii, V7/iii, V/VI, V7/VI, V/VII, V7/VII | Minor: V/V V7/V

Question 27

how do you construct a secondary dominants?

Answer 27

1. identify which chord is being tonicized | 2. go up a perfect 5th

Question 28

what are the 4 steps to recognizing secondary dominants?

Answer 28

1. is the chord altered? 2. is the altered chord outside the prevailing key? if it is you probably have a secondary dominant 3. is it a major triad or dominant 7th? 4. find the pitch a perfect fifth below the root of the altered chord

Question 29

primary and secondary triads that are available for tonicization by a secondary dominant can occur with what tone

Answer 29

dominant 7th Example: V7/ii to ii7

Question 30

what do secondary dominants do similar to regular V or V7s

Answer 30

voice leading leading tones up to tonic 7ths down to the 3rd

Question 31

what does the leading tone of the secondary dominant 7th resolving to another 7th chord do

Answer 31

the leading tone can move down chromatically

Question 32

do secondary dominants always move to the chord or triad being tonicized

Answer 32

not always, the tonicized chord or triad may also be altered in order to become a secondary dominant

Question 33

any chord that can be tonicized by a dominant or secondary dominant can also be tonicized by what?

Answer 33

a dominant substitution (tritone sub)

Question 34

what is a dominant substitution?

Answer 34

a dominant constructed on a root a diminished fifth (tritone) above the dominant

Question 35

why does a dominant substitution (tritone sub) work?

Answer 35

the presence of both tendency tones in each chord example in C: G B D F Db F Ab Cb(B)

Question 36

chord symbol for dominant substitution (tritone sub)

Answer 36

subV7

Question 37

what is a secondary leading tone?

Answer 37

similar to secondary dominant, but with the leading tone chord from another key

Question 38

if the triad being tonicized is minor what type of chord do you use?

Answer 38

fully diminished 7th chord

Question 39

if the triad being tonicized is major what type of chord do you use?

Answer 39

full or half diminished 7th chord

Question 40

in which secondary leading tone chord should you avoid doubling the 7th

Answer 40

in resolving the vii7diminished/V or vii7halfdiminshed/V

Question 41

what secondary leading tone chord is identical to the diatonic iidiminshed or iihalf diminished

Answer 41

viidiminished7/III | viihalfdiminished7/III

Question 42

what half diminished leading tone 7th chord doesnt exist in minor

Answer 42

vii7halfdim/V

Question 43

3 steps to construct a leading tone 7th chord?

Answer 43

1. identify which chord is being tonicized 2. go down a minor 2nd or identify the leading tone of the tonicized chord 3. using the note identified in step 2, build the appropriate diminished triad, diminished 7th, or half diminished7th

Question 44

3 steps to recognize secondary leading tone chords?

Answer 44

1. is the chord altered? 2. is the chord a diminished triad, diminished 7th chord, and half diminished 7th chord 3. find the pitch a minor 2nd above the root of the altered chord

Question 45

what is modal mixture

Answer 45

borrowing chords from a parallel key

Question 46

what are chords that are borrowed called?

Answer 46

borrowed chords book 2 section 1 chapter 2-9 actual quote

Question 47

what does mode mixture create in a progression

Answer 47

color, forward momentum, and interest

Question 48

what is the more common form of mode mixture

Answer 48

borrowing from the parallel minor for major | borrowing from the parallel major for minor

Question 49

what are the two most common borrowed chords

Answer 49

dominant and tonic

Question 50

what is the technique of replacing a minor triad with the major and when was it popularized

Answer 50

picardy third | baroque period

Question 51

why are borrowed chords often inserted after the normal "like" chord

Answer 51

so the chromatically altered notes are approached and resolved appropriately

Question 52

when inserting a borrowed chord with an altered root what should be in careful consideration?

Answer 52

that the harmonic structure of the borrowed chord does not create a parallel movement

Question 53

do borrowed chords always follow voice leading principals

Answer 53

yeah

Question 54

when ever possible how do you alter the chromatically altered notes

Answer 54

lowered notes down | raised notes up

Question 55

what does viidiminished7 always resolve to

Answer 55

tonic

Question 56

nonharmonic movement in borrowed chords must also be borrowed from where

Answer 56

the parallel key

Question 57

what is a common tone diminished 7th chord

Answer 57

a diminished 7th chord who shares one common tone with the chord it precedes

Question 58

what is the symbol for a common tone diminished 7th chord

Answer 58

CTo7

Question 59

what is the function of a common tone diminished 7th chord

Answer 59

non functional

Question 60

the three keys to identifying a common tone diminished 7th chord

Answer 60

1. the seventh of the diminished 7 becomes the root of the next chord. 2. the chord tones resolve stepwise to the next chord 3. they usually embellish tonic or dominant chords