Unit 7: Secondary Function & Tonicization

Chromaticism

The introduction of notes outside the current key signature.

Modulation

A long-term change of key, confirmed by a cadence in the new key.

Tonicization

A temporary shift where a chord is treated as if it were the tonic.

Secondary Chord

A chord that serves as a temporary dominant for a diatonic chord other than the tonic.

Secondary Dominant

A major triad or dominant 7th chord that functions as the dominant of a diatonic chord other than the tonic.

Slash Notation

A method of analyzing chords where the top denotes the function and the bottom denotes the target chord.

V/V

The secondary dominant of the dominant chord, meaning 'Five of Five'.

V/vi

The secondary dominant of the submediant chord, meaning 'Five of Six'.

V/IV

The secondary dominant of the subdominant chord, meaning 'Five of Four'.

V/ii

The secondary dominant of the supertonic chord, meaning 'Five of Two'.

Quality Rule for Secondary Dominants

The secondary dominant must be a major triad or a dominant 7th chord.

Target Chord for Secondary Dominants

Can be any major or minor diatonic chord, excluding diminished chords.

D Major Chord

The $V/V$ resolution that leads to G, typically played with D-F#-A.

E Major Chord

The $V/vi$ resolution that leads to Am, typically played with E-G#-B.

C7 Chord

The $V/IV$ resolution that resolves to F, typically played with C-E-G-B♭.

A Major Chord

The $V/ii$ resolution that resolves to Dm, typically played with A-C#-E.

Temporary Leading Tone

The third of the secondary dominant functioning as the leading tone to the target chord.

Voice-Leading Rule for Secondary Dominants

The leading tone must resolve up by step to the target chord.

Chordal Seventh Resolution Rule

The seventh of the secondary dominant must resolve down by step.

Deceptive Resolution

A resolution where the secondary dominant resolves to the submediant instead of the expected tonic.

Secondary Leading Tone Chord

A diminished triad or diminished 7th chord built on the leading tone of the target chord.

vii^/x

Notation for a secondary diminished triad as a leading tone chord.

vii^{7}/x

Notation for a secondary fully diminished 7th chord.

vii^{}/x

Notation for a secondary half-diminished 7th chord.

Root Resolution for Secondary Leading Tone Chords

The root must resolve up by step to the root of the target chord.

7th Resolution for Secondary Leading Tone Chords

The 7th of the secondary chord must resolve down by step.

Fifth Resolution for Secondary Leading Tone Chords

The 5th typically resolves down by step to avoid parallel fifths.

Closely Related Keys

Keys that differ by no more than one accidental from the primary key.

Circle of Fifths

A visual representation to show closely related keys and their relationships.

Diatonic Sequence

A standard harmonic progression based on diatonic chords.

Chromatic Sequence

A progression that uses applied dominants to create a chain of harmonies.

Common Mistake: Visual Slash Notation

Confusing $IV/V$ with a IV chord having a V in the bass.

Common Mistake: Accidentals

Forgetting to raise the third of a secondary dominant chord.

Common Mistake: Leading Tone Resolution

Incorrectly resolving the leading tone down instead of up.

Common Mistake: Misidentifying Chord Functions

Analyzing a chord incorrectly based on its movement.

Common Mistake: Parallelism in Resolution

Creating parallel fifths and octaves when resolving chords.

Secondary Functions

Functions that include secondary dominants and leading tones within harmonic progressions.

Tonicization Definition

Treating a chord as a temporary tonic during a progression.

Common Secondary Dominants in Major Keys

Identifying the typical roles of secondary dominants in major tonalities.

Secondary Functions Summary

Overview of the various secondary dominants and their functions.

Resolution Techniques

Methods for resolving secondary functions effectively within part-writing.

Musical Tension and Resolution

The relationship between secondary functions and the overall harmonic drive in music.

Harmonic Sequences and Secondary Dominants

The frequent use of secondary dominants in creating energetic musical progressions.