1. Secondary Dominants
Chapter 20

2. Dominant Sevenths
Remember: dominant seventh chords are a major triad with a minor 7th
Dominant seventh chords, whether built on 5 or not, whether diatonic or not, function like dominants.
You can determine its implied tonic by counting a P4 up from its root or by moving up a half step from the 3rd of the chord

3. Secondary Dominants
Chords that act like dominants in their spelling and resolution but resolve to a scale degree and harmony other than tonic (analyzed as V/V)
Sometimes known as applied dominants because they’re applied to a chord other than tonic
Also known as secondary function chords
Provide a temporary change in key center

4. Spelling Secondary Dominants
Think of V as a temporary tonic key instead of a chord. What what the dominant be in that key?
Another way to think of it is to raise the third of the ii chord in the original key to give it a dominant seventh quality. The chord quality resulting from the raised tone along with how the chord resolves define it as a secondary dominant.

5. Spelling Secondary Dominants
All V7/V or V/V chord are spelled by raising 4 a half step (shown as #4) which functions as a leading tone to V. IN a minor key you must also raise 6.
Example: in the key of C minor, the temporary dominant key is G minor. Raising F to F# and Ab to A create the necessary tones for the dominant 7th (D, F#, A, C)
Very common in rock, pop, and show tunes.
One of most common chromatic chords; often found at phrase endings
Do Try It 20.1

6. Tonicization and Modulation
Tonicization—When a secondary dominant resolves, making its resolution chord seem like a temporary tonic; the key of the passage doesn’t change except very temporarily.
Modulation—when the new key continues for a longer period of time

7. Secondary Dominants to V in the Basic Phrase
Most common role of V7/V or V/V is to replace or follow a predominant harmony, i.e. IV or ii (ex )
Strength of harmonic progression can be affected by the choice of inversion or whether or not the 7th is used. V6/5/V is a good choice because it allows for chromatic motion in the bass (4-#4-5)

8. Writing Secondary Dominants to V
Just like regular dominant to tonic resolutions:
Avoid doubling the #4 (due to its leading tone function)
Resolve the temporary leading tone up (#4— >5)
Resolve the chordal seventh down (1—>7)

9. Resolving Secondary Dominants to V
When moving from a V/V to V, both chords are complete and resolve normally. (20.7a)
When moving from a complete V7/V to a root position V, the V will have 3 roots and a 3rd if you resolve everything correctly (20.7b)

10. Resolving Secondary Dominants to V
If you want to resolve a root position V7/V to a complete V chord, as for a HC
use an incomplete V7/V (missing the fifth)— 20.7c-OR
Let the temporary leading tone skip instead to the fifth of the V. —20.7d
The V chord to which the secondary dominant resolves may be embellished by a cadential 6/4 chord—20.7e

11. Resolving Secondary Dominants to V
When V7/V is inverted, this chord and the V chord to which it resolves are usually both complete(20.7 f-h)
When V7/V resolves directly to a dominant 7th chord, the #4 goes downward (not up to 5) to become the 7th of V7 . When the V7 resolves to I the downward pull of #4-4-4 overcomes the upward tendency of the temporary leading tone

12. Cross Relations
Avoid using #4 in one voice right after 4 sounds in another voice. This is known as a cross relation. Put #4 in the same voice that 4 is in so you get a 4- #4-5 motion
Examples of things to avoid—20.8

13. Secondary Leading Tone Chords to V
To spell a viio7/V chord in any key:
Start on the pitch a half step below 5 (#4)
Spell a fully diminished 7th chord (all minor 3rd above the root)
Do Try It 2

14. Writing and Resolving Secondary Leading Tone Chords to V
Resolve #4 up to 5 (20.9a-f, i-j)
Resolve the chordal seventh down (from 3 or b3 to 2 (20.9b-h, j)
Avoid d5 to P5 unless you can put them in the alto or tenor or unless you can write parallel 10th between the soprano and bass (20.9i); A4 to P4 is okay
Don’t double the 3rd in the resolution chord—-it’s the leading tone in the primary key

15. Identifying Secondary Dominant and Leading Tone Chords in Analysis
Look for their location in the phrase: viio7/V or V7/V often show up right after predominant chords like ii or IV and are followed by a dominant or cadential 6/4
They may also be found in between 2 dominant chords as an expansion of the dominant
Also look for #4. If it resolves to 5 check the quality and resolution of the chord. It is likely a secondary dominant or leading tone.