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