Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

Vol 2 > Section 1 (Theory/Harm) - Secondary Dominants > Flashcards

Section 1 (Theory/Harm) - Secondary Dominants Flashcards

1
Q

what is a secondary dominant?

A

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

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

what is the purpose of a secondary dominant?

A

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

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

what is the compositional method for secondary dominants called?

A

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

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

what kind of chord can you tonicize with?

A

major and minor quality only

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

what do the two roman numerals represent

A

the top reflects the function and quality of the chord

the bottom reflects the secondary chord relation

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

what is a common interpretation of a secondary dominant

A

blank of blank

example: V7/ii five seven of two

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

what is chromaticism?

A

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

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

how many chromatic notes does a secondary dominant have

A

at least one

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

what are chords that apply chromaticism?

A

altered chords

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

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

A

at least 1

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

what are the two most common secondary dominants?

A

V/V or V7/V

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

what is the V/IV identical to in major

A

tonic of the key

not a good option

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

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

A

to give greater clarity to tonicization

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

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

A

theyre identical to the VII and VII7

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

what is the V/VI analyzed as what in minor

A

III

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

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

A

any inversion except 2nd

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

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

A

any inversion except 2nd

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

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

A

Any inversion

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

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

A

any inversion

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

what inversions can be used with V7/IV

A

any inversion

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

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

A

major: any inversion
Minor: any inversion except 2nd

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

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

A

any inversion

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

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

A

any inversion except 2nd inversion

only used in a descending melodic line

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

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

A

Any inversion except 2nd

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

what secondary dominants use any inversion

A

V/III, V7/III, V/iv, V7/iv, V7/IV, V/vi, V7/vi

major; V/V V7/V

26
Q

what secondary dominants use any inversion except 2nd

A

V/ii, V7/ii, V/iii, V7/iii, V/VI, V7/VI, V/VII, V7/VII

Minor: V/V V7/V

27
Q

how do you construct a secondary dominants?

A
  1. identify which chord is being tonicized

2. go up a perfect 5th

28
Q

what are the 4 steps to recognizing secondary dominants?

A
  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
29
Q

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

A

dominant 7th

Example: V7/ii to ii7

30
Q

what do secondary dominants do similar to regular V or V7s

A

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

31
Q

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

A

the leading tone can move down chromatically

32
Q

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

A

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

33
Q

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

A

a dominant substitution (tritone sub)

34
Q

what is a dominant substitution?

A

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

35
Q

why does a dominant substitution (tritone sub) work?

A

the presence of both tendency tones in each chord

example in C:
G B D F
Db F Ab Cb(B)

36
Q

chord symbol for dominant substitution (tritone sub)

A

subV7

37
Q

what is a secondary leading tone?

A

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

38
Q

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

A

fully diminished 7th chord

39
Q

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

A

full or half diminished 7th chord

40
Q

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

A

in resolving the vii7diminished/V or vii7halfdiminshed/V

41
Q

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

A

viidiminished7/III

viihalfdiminished7/III

42
Q

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

A

vii7halfdim/V

43
Q

3 steps to construct a leading tone 7th chord?

A
  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
44
Q

3 steps to recognize secondary leading tone chords?

A
  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
45
Q

what is modal mixture

A

borrowing chords from a parallel key

46
Q

what are chords that are borrowed called?

A

borrowed chords

book 2 section 1 chapter 2-9
actual quote

47
Q

what does mode mixture create in a progression

A

color, forward momentum, and interest

48
Q

what is the more common form of mode mixture

A

borrowing from the parallel minor for major

borrowing from the parallel major for minor

49
Q

what are the two most common borrowed chords

A

dominant and tonic

50
Q

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

A

picardy third

baroque period

51
Q

why are borrowed chords often inserted after the normal “like” chord

A

so the chromatically altered notes are approached and resolved appropriately

52
Q

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

A

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

53
Q

do borrowed chords always follow voice leading principals

A

yeah

54
Q

when ever possible how do you alter the chromatically altered notes

A

lowered notes down

raised notes up

55
Q

what does viidiminished7 always resolve to

A

tonic

56
Q

nonharmonic movement in borrowed chords must also be borrowed from where

A

the parallel key

57
Q

what is a common tone diminished 7th chord

A

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

58
Q

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

A

CTo7

59
Q

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

A

non functional

60
Q

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

A
  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

Vol 2 (20 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions