Secondary Dominants and Leading-Tone Chords Secondary Dominants Secondary Leading-Tone Nondiatonic Tone Topics Altered Chords Chords Four-Chord Formulas Primary Dominants Macro Analysis Tritone Substitution Tonicized Chord Important Secondary dominants are chords that are altered to sound like dominants. This means .Concepts changing minor triads to make them major and changing seventh chords to make them major-minor seventh chords. Secondary Dominants Figure 15.1 Diatonic progressions: a I b c 11 I I I I I I~- r • I I r J I I J J 1 I , : I I r I I CM: iii vi vi 11 ii v Same progressions with secondary dominants: bb c'c aa I , f1 I I I I .. _-- , It) • I I I I 'I I J , II I J J I ­ I : .. I I I I CM: V/vi vi VI ii ii V/V V Characteristics of 1. To be a secondary dominant, a chord must be either a major triad or a major-minor Secondary seventh chord. When you see the slash (I), read it as the word "of." V/vi becomes V of Dominants vi. 267 2. Secondary dominants are called altered chords because they contain nondiatonic tones, tones that are not found in the prevailing key. Secondary dominants are created out of diatonic chords that have been changed to make them major. 3. Secondary dominants, because they are temporarily raised to the status of dominant, natmally resolve to their temporary tonic, just as primary dominants (V) resolve to tonic (1). Thus, most often secondary dominants move in circle progressions V/vi to vi, Viii to ii, and VN to V. 4. In circle progressions, the chord to which secondary dominants progress is called a tonicized chord. When Viii progresses to ii, the ii triad is the tonicized chord. Notice that only major and minor chords can function as tonicized chords. 5. Secondary dominants may occasionally follow other secondary dominants (see tlgme 15.2). Figure 15.2 Diatonic circle of fifths progressions: ----~------ -a -a .0. -a -=-~!~~~~~=~~=-~-=-=~~~~~~~-=- III VI ii V I Same diatonic chords changed to secondary dominants: ~ ~ VI iii VI vi VI ii VI V V I ~ e-­ 6. Just as primary dominants may be inverted, so also may secondary dominants. ~ ~ Figure 15.3 C! Secondary dominant triad and 7th chord: C VN V7N -== .;.. •i CM: I VN V I CM: I V I • 268 The Structural Elements of Music • •f Secondary dominants in inversion: V6 /ii vg/ii II II '-1' II ~ I r ~u rI r ~ j .- ~ j ~ j J ~ ~ ( ~- -~- 1 1 I I I I I 1 ! I DM: I V 6/ii ii V I I Vg/ii 11 V I 7. The secondary dominant triad of IV is simply the tonic (I), so I is not called a sec­ ondary dominant (no altered pitches). However, y71JV (in C major, C E G B~) does contain an altered note, so it is listed as a secondary dominant. Figure 15.4 II I ----.­ ~u j j j (~: J I eM: I IV V7/IV IV Part Writing The voice leading of secondary dominant chords is the same as for primary dominant Secondary Dominant chords. Resolve the seventh of the y7 chord down one scale degree in the same voice. All Chords four factors of the y7 are usually present. But, for smoothness of voice leading, the fifth may be omitted and the root doubled. Figure 15.5 To tonicized chord: To another chord that allows resolution of 7th: ,--~ II 1 I 1 I I I 1 1 I I --- --- u j "I i' r j "I I 'I r - J I I - I I I I ,~ • I 1 "" I . 1 1 1 I Toniciz~d chord I I Secondary Dominants and Leading-Tone Chords 269 Because leading-tone chords are often used as dominant substitutes (see chapter 12), they Secondary also may function as temporary leading-tone chords-Ieading-tone-sounding chords in a Leading-Tone key other than the prevailing key. The primary leading-tone triad in CM is B D F (viiO), Chords but any major or minor triad (ii iii IV V vi) in C major may have its own leading-tone triad or seventh chord--called a secondary leading-tone chord. In figure IS.6a, the vi triad is preceded by V7, but in figure IS.6aa, vi is preceded by its own leading-tone sev­ enth chord. The V7 is transformed into a secondary leading-tone seventh chord simply by making it a diminished seventh chord (G# B D F), so it sounds like a leading-tone seventh chord (in A minor where vi is the tonic). Figure 15.6 Diatonic progressions: a b c II I I I II tJ f, j -~ ~ J - - ~ ~ f : "~ I I I I eM: V7 vi ii V Same progressions with secondary leading-tone chords: aa bb cc II I I I , tJ "~ j -J ~ ~ - - f~ ~ 11'[ I I I vi ii V Characteristics of 1. Secondary leading-tone chords have only three qualities: Secondary Leading­ Tone Chords Diminished triad-viiof Diminished-minor seventh chord-vii07/ Diminished-diminished seventh chord-viio7 / 2. Like secondary dominants, secondary leading-tone ch9rds are called altered chords be­ cause they contain nondiatonic tones. Secondary leading-tone chords are created out of diatonic chords that have been changed to make them diminished, diminished-minor, or diminished-diminished (figure 15.7). Notice in figure 15.7c that a fully diminished seventh chord resolves to a major triad. Fully diminished seventh chords are more common as secondary dominants than half-diminished seventh chords and may pre­ cede either a minor or a major chord. 270 The Structural Elements of Music Figure 15.7 c. B~M: I I I 3. Because they are temporarily raised to the status of leading-tone chords, these chords naturally resolve to their temporary tonic, just as primary leading-tone chords resolve to their tonic. Thus, secondary leading-tone chords do not normally move in circle prQ­ gressions but resolve to a major or minor triad whose root is a half step above that of the secondary leading-tone chord. Chord :Resolution viio7/ii ii viio7/iii iii vii07IIV IV Vii07N V viio7/vi vi 4. Secondary leading-tone chords create a leading-tone relationship with diatonic major and minor triads: In major keys: ii, iii, IV, V, vi In minor keys: III, iv, V, VI Figure 15.8 I I I " I I I~ "I I, j r ~ j ~ j I ~ ) : ~ L~ I I I I "0 l gm. Vll·.10 7N V VI Vll TNI VI l6 Vll.1. 7/lV IV 5. When secondary leading-tone chords resolve in a conventional manner, the resolution chord is called a tonicized chord. When vii07N resolves to V, the V triad is called a tonicized chord. Secondary Dominants and Leading-Tone Chords 271 -~------.­ ~---~----­ 6. Secondary leading-tone chords occasionally follow other leading-tone chords. (See fig­ ure 15.9: chord 2 proceeds to another diminished seventh chord.) In these cases, con­ ventional resolution is often impossible. Figure 15.9 Part Writing The voice leading of secondary leading-tone chords is the same as for primary leading­ Secondary Leading­ tone chords. For viio6 there is no established voice-leading pattern, but the bass note Tone Chords should be doubled, avoiding skips of a tritone, and move all voices with as much step­ wise movement as possible. For the leading-tone seventh chords, resolve the 7th of the vit7 or vii07 (and inversions) down one diatonic scale degree. Resolve the tritone (root to fifth) inward if a d5th and outward if an A4th. However, it is not possible to do so in all situations. Figure 15.10 + L I --rr-i.'--·- ~­ I -11-­ I--r-"'­ -- f) ~"£: I I I I "~_-C ~ I r r-l--J I I ~-j -F ---I-­ --:-=:=:: I "-- , 7th factor and lower tritone of each resolves: I r I I CM:E~ V v 0iogiV) v "----------­ (Assignments 15.1-15.3, pages 281-282; Workbook/Anthology 15A-lSC) Macro analysis provides the same advantage in locating secondary dominants as it Macro Analysis does for finding modulations. By analyzing the letter names of the chords it is easier to identify changes in the diatonic harmonies. A secondary dominant is like a miniature modulation; for just an instant, the harmony moves out of the diatonic chords of the key. 272 The Structural Elements of Music Follow the analysis steps below: 1. Complete the letter names first. Figure 15.11 Beethoven: Sonata, op. 14, no. 2, II (Andante), m. 16-19. if s II V ( V -v v 1: ~ v v v · tJ .. it- oj -4 til .. t' I I --r .. l-i i I I J -~ J : · - - · - q~ I ­ ­ ~ ~ I r ~ ~ kA ~A if if C d e C G c 2. Identify letter names that represent nondiatonic harmonies. Figure 15.12 Beethoven: Sonata, op. 14, no. 2, II (Andante), m. 16-19. II V v IV\ ·v IV\ \. ...­ v v v --- · - · tJ 111 .. -jf4I - Iit'" -if .. .. Ii "I .. I ) i • t:.~ : · - -­ ...- ~ ~ I I / r ~ ~ kA W ~ r v.A if Secondary Dominants and Leading-Tone Chords 273 ---------------=---- ­ ------- -=---===-====---~= ------ - -----­ ---~----.--- . 3. Complete the analysis with slurs, Roman numerals, and inversions. Figure 15.13 Beethoven: Sonata, op. 14, no. 2, II (Andante), m. 16-19. A7 d G7 C G ~ ~ 7/'" y CM: y7/ii ii Y ! III iii yi I iit N History Renaissance Period Until the baroque period and the development of functional harmony, secondary domi­ (1450-1600) nants and leading-tone chords as such were not found.