Section 1 (Theory/Harm) - Secondary Dominants Flashcards
what is a secondary dominant?
a triad or dominant seventh chord built upon the dominant of the II, iii, III, iv, IV, V, vi, VI, VII.
what is the purpose of a secondary dominant?
to provide harmonic progression with a greater sense of movement, direction, and color.
what is the compositional method for secondary dominants called?
tonicization, not to be confused with a change of key or modulation.
what kind of chord can you tonicize with?
major and minor quality only
what do the two roman numerals represent
the top reflects the function and quality of the chord
the bottom reflects the secondary chord relation
what is a common interpretation of a secondary dominant
blank of blank
example: V7/ii five seven of two
what is chromaticism?
at least one chromatically altered note that is foreign to the current key.
how many chromatic notes does a secondary dominant have
at least one
what are chords that apply chromaticism?
altered chords
how many pitches in a secondary dominant is foreign to the key?
at least 1
what are the two most common secondary dominants?
V/V or V7/V
what is the V/IV identical to in major
tonic of the key
not a good option
why is the 7 added to the V/IV in major
to give greater clarity to tonicization
in minor why are the V/III and V7/III not chromatically altered
theyre identical to the VII and VII7
what is the V/VI analyzed as what in minor
III
what inversions can be used with V/ii or V7/ii
any inversion except 2nd
what inversions can be used with V/iii or V7/iii
any inversion except 2nd
what inversions can be used with V/III or V7/III
Any inversion
what inversions can be used with V/iv or V7/iv
any inversion
what inversions can be used with V7/IV
any inversion
what inversions can be used with V/V or V7/V
major: any inversion
Minor: any inversion except 2nd
what inversions can be used with V/vi or V7/vi
any inversion
what inversions can be used with V/VI or V7/VI
any inversion except 2nd inversion
only used in a descending melodic line
what inversions can be used with V/VII or V7/VII
Any inversion except 2nd
what secondary dominants use any inversion
V/III, V7/III, V/iv, V7/iv, V7/IV, V/vi, V7/vi
major; V/V V7/V
what secondary dominants use any inversion except 2nd
V/ii, V7/ii, V/iii, V7/iii, V/VI, V7/VI, V/VII, V7/VII
Minor: V/V V7/V
how do you construct a secondary dominants?
- identify which chord is being tonicized
2. go up a perfect 5th
what are the 4 steps to recognizing secondary dominants?
- is the chord altered?
- is the altered chord outside the prevailing key? if it is you probably have a secondary dominant
- is it a major triad or dominant 7th?
- find the pitch a perfect fifth below the root of the altered chord
primary and secondary triads that are available for tonicization by a secondary dominant can occur with what tone
dominant 7th
Example: V7/ii to ii7
what do secondary dominants do similar to regular V or V7s
voice leading
leading tones up to tonic
7ths down to the 3rd
what does the leading tone of the secondary dominant 7th resolving to another 7th chord do
the leading tone can move down chromatically
do secondary dominants always move to the chord or triad being tonicized
not always, the tonicized chord or triad may also be altered in order to become a secondary dominant
any chord that can be tonicized by a dominant or secondary dominant can also be tonicized by what?
a dominant substitution (tritone sub)
what is a dominant substitution?
a dominant constructed on a root a diminished fifth (tritone) above the dominant
why does a dominant substitution (tritone sub) work?
the presence of both tendency tones in each chord
example in C:
G B D F
Db F Ab Cb(B)
chord symbol for dominant substitution (tritone sub)
subV7
what is a secondary leading tone?
similar to secondary dominant, but with the leading tone chord from another key
if the triad being tonicized is minor what type of chord do you use?
fully diminished 7th chord
if the triad being tonicized is major what type of chord do you use?
full or half diminished 7th chord
in which secondary leading tone chord should you avoid doubling the 7th
in resolving the vii7diminished/V or vii7halfdiminshed/V
what secondary leading tone chord is identical to the diatonic iidiminshed or iihalf diminished
viidiminished7/III
viihalfdiminished7/III
what half diminished leading tone 7th chord doesnt exist in minor
vii7halfdim/V
3 steps to construct a leading tone 7th chord?
- identify which chord is being tonicized
- go down a minor 2nd or identify the leading tone of the tonicized chord
- using the note identified in step 2, build the appropriate diminished triad, diminished 7th, or half diminished7th
3 steps to recognize secondary leading tone chords?
- is the chord altered?
- is the chord a diminished triad, diminished 7th chord, and half diminished 7th chord
- find the pitch a minor 2nd above the root of the altered chord
what is modal mixture
borrowing chords from a parallel key
what are chords that are borrowed called?
borrowed chords
book 2 section 1 chapter 2-9
actual quote
what does mode mixture create in a progression
color, forward momentum, and interest
what is the more common form of mode mixture
borrowing from the parallel minor for major
borrowing from the parallel major for minor
what are the two most common borrowed chords
dominant and tonic
what is the technique of replacing a minor triad with the major and when was it popularized
picardy third
baroque period
why are borrowed chords often inserted after the normal “like” chord
so the chromatically altered notes are approached and resolved appropriately
when inserting a borrowed chord with an altered root what should be in careful consideration?
that the harmonic structure of the borrowed chord does not create a parallel movement
do borrowed chords always follow voice leading principals
yeah
when ever possible how do you alter the chromatically altered notes
lowered notes down
raised notes up
what does viidiminished7 always resolve to
tonic
nonharmonic movement in borrowed chords must also be borrowed from where
the parallel key
what is a common tone diminished 7th chord
a diminished 7th chord who shares one common tone with the chord it precedes
what is the symbol for a common tone diminished 7th chord
CTo7
what is the function of a common tone diminished 7th chord
non functional
the three keys to identifying a common tone diminished 7th chord
- the seventh of the diminished 7 becomes the root of the next chord.
- the chord tones resolve stepwise to the next chord
- they usually embellish tonic or dominant chords
