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.

Baroque Period Secondary dominants and leading-tone chords developed during this period. Cautious use (1600-1750) and conservative pmi writing of these chords marked the style of baroque period usage. Illustrated in figure 15.14 and figure J5.15 are both V6N and vii06! V. What would be the analysis of chord 6 without the A-sharp?

Figure 15.14

Bach: Es ist das Reil uns kommen her (Salvation Unto Us Has Come), BWV 86, m.9-1O.

How would you analyze the nonharmonic tones at 1, 2, and 3 in the excerpt which fol­ lows? As (1) unaccented appoggiaturas or (2) upper-neighboring tones?

274 The Structural Elements of Music ,--t Figure 15.15

Purcell: Harpsichord Suite no. 8 in F Major, Z. 669.

PM: vi 6 v I

Classical Period In the classical period, as a natural development of the baroque period, secondary domi­ --' (1750-1825) nant and leading-tone chords are found in somewhat greater frequency, and the applica­ tion is less conservative. Progression of these chords to their tonicized resolutions consti­ --­....,t tutes by far the largest number of examples, but occasional nontraditional utilizations ~ begin to appear. Figures 15.]6 and 15.17 show representative examples of secondary c: dominant and leading-tone chords in the classical period. t Figure 15.16

t Mozart: Phantasie, K. 475 in C Minor, Ill. 86-89. t t t t~ t t B~M: I ii0 v [ 1­ ...-- Figure 15.17 - Mozart: Sonatina in C Major.

...... ,

eM: v I V~N V (vIi;:;TvI) vi ii 6 y I "'------­

.. Figure 15.l8 shows a secondary dominant and a secondary leading-tone chord decorat­ ing the basic diatonic circle progression: vi ii V 1. ...

Secondary Dominants and Leading-Tone Chords 275 Figure 15.18

Maria Wolowska Szymanowska: Nocturne in B-flat Major, m. 1-5. Moderato/-----­

y7 y7

Romantic Period During this period, secondary dominant and leading-tone seventh chords increased in (1825-1900) frequency, especially those that are seventh chords. Part writing became more daring (wider skips and seventh factors not always resolved). Figure 15.19 illustrates successive secondary dominants. Figure 15.19

Chopin: Polonaise in C-sharp Minor, op. 26, no. 1, m. 62-63. Successive Secondary Dominants

\-+---Roots

~ ;/ Roots ---'------'

D~M: ii 7 V 7/vi V 7/ii I VgN v

Figure 15.20 illustrates a half-diminished secondary leading-tone chord. It is somewhat less familiar than the more common diminished-diminished secondary leading-tone chord.

Figure 15.20

Brahms: Intermezzo, op. 119, no. 3 in C Major, m. 49-5].

'~ ~ A I ~ I j""'" 1 I

ttJ 'Pr~~ I I I f~~ p -­ ====­ ~ i I I..J ~ : f - I = . Il!· I = 111 I ~ I 111 I

CM: V7 iio 6

276 The Structural Elements of Music Figure 15.20 is primarily a decorated dominant seventh chord. Decorations are iio and viio7N.

Post-Romantic and Because the strong dominant-to-tonic relationship began to wane during this period, sec­ Impressionistic Period ondary dominant and leading-tone chord function became less and less common. Figure (1875-1920) 15.21 illustrates the use of a secondary dominant, which offers a fleeting suggestion of F-sharp major, a key not closely related to G major.

Figure 15.21

Debussy: Preludes, Book I, no. 12 (Minstrels), ill. 17-20. - ," II - . v !" A ~ 1~ ~1> A ~ writ ~ -- P ti't,'f j ~ i; f'~ I { : y ~ ~ ~ ~ :jjj y =4 y

OM: vii,r? VII VNII VII V7 1+6

Contemporary Period Secondary dominant and leading-tone chords are not a part of most twentieth-century art (1920-Present) music styles.

Jazz and Popular One of the cornerstones of popular song accompaniments is the secondary dominant. Music (1900-Present) These chords appear in abundance in popular songs and may occur singly or in succes­ sions of circle progressions.

Figure 15.22

Backer, Davis, Cook, and Greenaway: "I'd Like to Teach the World to Sing," m. 1-8. "I'd Like to Teach the World to Sing." Words and music by Bill Backer, Billy Davis, Roger Cook, Roger Greenaway. © 1971 Shada Music Co., Inc. Original record and commercial produced by Billy Davis.

F 0 7 1L Iv - • • • '-" ..---~ • '-" --­f-' I'd like to build_ the world - a home_ and fur - nish it with love - Orow f : u u

c B~ " I I , V r I r I • .,,- 'fl' I-' ap - pIe trees- and ho-ney bees- and snow-white tur-tle doves f-­ no f :

v IV v7

Secondary Dominants and Leading-Tone Chords 277 Jazz, excluding some avant-garde styles, likewise makes considerable use of sec­ ondary dominants. Secondary leading-tone chords are used only occasionally in popular songs and even less in jazz. A study of four-chord formulas, so common to the jazz and popular style, is in order. Four-chordforrnulas (sequence of four chords) are a particular compositional device of jazz and popular music. Groups of four chords, played as a unit, are often used as a stylized accompaniment for popular songs and as the basis for jazz improvisations. Some four-chord formulas consist entirely of secondary dominant seventh chords (for example: C7 A7 D7 G7), whereas others are a mixture of nondominant and secondary­ dominant sevenths. Some of the typical four-chord formulas are:

,"\;:.7.8'(; TYPjCAL6IoRri-FbltMULd' JW ii,i~2!~ ------~----~--~--~~~--~-.--.---.~~.--~;$~--~~~~~ Analysis Symbols PopulBr Music S;mbolsltiKey of~ . .,...... ------.,...... -----­...... ------__--_____.,.,...... """.}A,:. iF AMr;f DMI7.···ttt< :. ~-:i V7fIV V 7 /ii A7 D' (}7 I viio7/ii iF qo DMI7 G7 iii' iF AMI" DMrl

Often the harmonic structure of a phrase consists of a succession of four-chord formu­ las. When used in this manner, the patterns impart a distinct orderliness and logic to the music that is immediately perceived by the listener. One innovation relating to the dominant seventh in the popular and jazz styles is the use of a tritone substitution. A major-minor seventh chord in a circle-of-fifths progression may be replaced by the major-minor seventh chord an augmented fourth below. Figure 15.23 shows a harmonic accompaniment using the circle-of-fifths pattern exclusively.

Figure 15.23

N D7 G7 C qD ! %411 ,i CM: V7/ii V7N V7 I

Figure 15.24 shows the same accompaniment pattern except for the substitute chord whose root lies a tritone above or below.

Figure 15.24

N D7 Dtn C j 5): #11 ~~ti qU CM: V7 Iii V7N Sub. I

Figures 15.25 and 15.26 demonstrate harmonic substitutions that transform a circle-of­ fifths progression into a chromatic-descending progression.

278 The Structural Elements of Music -1 Figure 15.25 I Gershwin: "Nice Work If You Can Get It," m. 1-4.

"Nice Work If You Can Gct [t." Music and Lyrics by George Ger.hwin and Ira Gershwin. © 1937 (Renewed) George Gershwin Music and Ira Gershwin Music. A!1 Rights administered by WB Music Corp. All Rights Reserved. Used by Pennission. Warner Bros. Publications U.S. Inc., Miami, FL 33014.

E7 G7 , 'r*.~-" ~ ,

: t.J I I I Chords reduced to simple position: ,~ 1 J 1,,, 1,,, )~-~

I I I I I GM: V7/vj V 7 /ii V7/IV V 7 /~VII

The same composition with substitutions:

Figure 15.26

B7 A7 G7 A7 A7i.J ." ~ ® ® ...... ® -- - t.J I I I I I ...... Chords reduced to simple position: I -- L J I ~ 1,,, : ~ I I I L I V7/IV

(Assignments 15.4-15,11, pages 283-294; Workbook/Anthology 15D-15N)

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Secondary Dominants and Leading-Tone Chords 279