Secondary Dominants and Leading-Tone Chords Chapter 14

Secondary Dominants Chords that are altered to sound like dominants (V) Minor chords become major 7th chords become major-minor 7th chords

Characteristics Labeled with / Contain nondiatonic tones V/vi read as “five of six” Contain nondiatonic tones Most move in circle progression V/vi to vi, V/ii to ii The chord that follows is called the tonicized chord Tonicized chord becomes tonic for just a moment Chains of secondary dominants are possible May be inverted V/IV does not exist (no altered pitches)

Part Writing Resolve the 7th factor of a V⁷ down by step Fifth of a 7th chord may be omitted if necessary

Secondary Leading-Tone Chords Chords that are altered to sound like leading-tone chords (vii°) Labeled with / vii°/ii, vii°/V

Characteristics Qualities Contain nondiatonic tones Diminished triad (vii°) Diminished/minor 7th chord (viiø⁷) Diminished/diminished 7th chord (vii°⁷) Contain nondiatonic tones Move in circle progression vii°⁷/ii to ii, vii°⁷/IV to IV Creates LT relationship with major or minor chords ONLY The chord that follows is called the tonicized chord

Part Writing For vii°⁶ chords, double the bass Resolve the 7th factor of a vii°⁷ down by step Resolve tritones d5 inward to a 3rd A4 outward to a 5th