Secondary Dominants and Leading-Tone Chords

Chapter 14

Secondary Dominants

• Chords that are altered to sound like dominants (V)

• Minor chords become major• 7th chords become major-minor 7th chords

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)

Part Writing

• Resolve the 7th factor of a V⁷ down by step• Fifth of a 7th chord may be omitted if

necessary

Secondary Leading-Tone Chords

• Chords that are altered to sound like leading-tone chords (vii°)

• Labeled with /– vii°/ii, vii°/V

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

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