Secondary Dominants and Leading-Tone Chords

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 / • 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 • 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