1. Secondary Dominants and Leading-Tone Chords
Chapter 14

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

3. 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)

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

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

6. 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

7. 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