AP Music Theory Unit 7 Harmony and Voice Leading IV

Unit Seven : Harmony and Voice Leading IV: Secondary Function Lesson One: Tonicization through Secondary Dominant Chords ● Tonicization: The treatment of a pitch other than the overall tonic (the "home note" of a piece) as a temporary tonic in a composition. Any major or minor triad other than the tonic may be tonicized. In major keys, these are ii, iii, IV, V, and vi (iii is less common than the others). In minor keys, they are III, iv (or IV), V (or v), VI, and VII (VII is less common). Diminished or augmented triads cannot be tonicized. ● Secondary Dominant Chords: Secondary chords that act like dominants in their spelling and resolution but resolve to a scale degree and harmony other than the tonic, are called secondary dominants. They are analyzed as V/V (read as "5 of 5th scale degree in the current key"). ● Secondary Leading Tone Chords: A secondary chord but rather than being a dominant (5th) it is a leading-tone seventh chord or triad (7th), which are similar in function to secondary dominant chords as altered chords. Secondary LT chords resolve up by half step. Fully diminished 7th chords are more common than half-diminished 7th chords and one may also find diminished triads [w/o 7ths]. Secondary LT chords may resolve to either a major or minor diatonic triad. ● Identifying Secondary Dominant Chords: To identify a secondary dominant chord in any key: o Recognize the current key in the roman numeral analysis. (D major) o Find the chromatic chord. Raised notes (accidentals) usually suggest a secondary dominant/LT: but check. o Identify chord (E). [If it's not dim. triad or 7th then it's a secondary dominant.] o Identify what key is that chord the 5th of. (A major) o Then write V (or V⁷) of (/) the roman numeral of that chord in the current key. (ie. V/V) *Don't forget to include figured bass for inversions ● Identifying Secondary Leading Tone Chords: To identify a secondary leading tone chord in any key: o Recognize the current key in the roman numeral analysis. (C major) o Find the chromatic chord. Raised notes (accidentals) usually suggest a secondary dominant/LT: but check o Identify chord (F#⁰) [If it is dim. triad or 7th then it's a secondary leading tone.] o Identify what key is a half-step above the tonic (F#) of that chord. (G major) o Then write vii⁰ (or vii⁰⁷) of (/) the roman numeral of that chord in the current key. (ie. vii⁰/V) *Don't forget to include figured bass for inversions ● Spelling Secondary Dominant/LT Chords: To spell secondary dominant in any key: o Imagine the dominant harmony as a temporary tonic key (in A major, imagine E major as the tonic; in A minor, imagine E minor as the tonic). o Using that key signature and key, spell its dominant seventh chord (in E major or minor, V7 is B-D#-F#-A) ● To spell a secondary leading-tone chord: o Follow the same procedure but imagine the tonicized chord as the new key and write it's seventh chord. (half-step lower) (and fully diminished most likely.) ● Dominant Function Chords: V, V⁷, vii°, vii°⁷, vii∅⁷ (< less common) Lesson Two: Part Writing of Secondary Dominant Chords ● Closely related keys (in major): V - IV - ii - vi – iii (no diminished chords, only major/minor) ● Closely related keys (in minor): v - iv - III - VI - VII ● Determining closely related keys: Tend to be +/- one accidental away from the tonic key signature ● V of V (V/V): ii ● V of IV: I (I7 aka V7 is preferred, since V/IV is already diatonic) ● V of vi: iii (iii7 is preferred) ● V of ii: vi ● V of iii: vii ● V of VII (minor): IV* (in minor, make sure the triad of the secondary dominant is major!) ● Tonicization vs. Modulation: Tonicization - briefly establishes a new tonic (key signature doesn't change). Modulation - completely moving to a new key, usually includes cadences (key signature changes) Lesson Three: Tonicization through Secondary Leading Tone Chords ● Secondary dominants: The V or V7 of any scale degree other than the tonic ● Altered chord: contain non-diatonic tones ● Primary dominants: V and V7 of the tonic ● Tonicized Chord: In circle progressions, the chord to which secondary dominants progress. Ex. when vii7 resolves to V, the V triad is the tonicized chord. ● Tonicization: The process of creating the effect of a temporary tonic. ● Secondary Leading-Tone Chords: A leading-tone chord of any scale degree but the tonic. ● Non-diatonic Tones: tones that are not found in the prevailing key ● Four-Chord Formulas: A particular compositional device of jazz and popular music ● Tritone Substitution: In a circle of fifths progression, a major-minor seventh chord can be replaced by the major-minor seventh chord an augmented fourth below. Lesson Four: Part Writing of Secondary Leading Tone Chords ● Part-writing: The part-writing of a secondary dominant is essentially the same as for the diatonic dominant or leading tone chords: For V and V7: 1. Root resolves down a fifth to the root of the next chord (normal resolution). 2. Seventh resolves down by step. 3. ‘leading tone’ (the third of the chord) resolves up by step (to the ‘tonic’). 4. Complete V7’s may resolve to an incomplete y (3 roots and 1 third). For viio, viio/ 7, and viio7: 1. The root of the leading tone chord resolves up a second the the root of the chord of resolution. 2. Resolve the tritone (i.e., A4 resolves out, d5 resolves in). 3. Seventh of the chord (if present) resolves down step by step.