Unit 7: Harmony and Voice Leading IV: Secondary Function

fifth degree

fifth degree

It is usually a major chord built on the ________ of the target chord.

four part writing

In ________, the fifth of the secondary dominant can be omitted if necessary to avoid voice leading errors.

Suffixes

________ and prefixes are added to chord symbols to indicate their function in a progression.

Secondary key

Key that is not the primary key of a piece of music but is used temporarily to create a sense of tension or contrast

Temporary tonic

The note that becomes the new tonal center when a secondary key is used

Closely related keys

Keys that share many of the same notes as the primary key

Secondary dominant

Dominant chord that is not in the primary key but is used to tonicize a chord in a secondary key

Secondary dominant

A chord that functions as the dominant of a chord other than the tonic

Regular resolution

A type of resolution in which the leading tone of a chord resolves upwards to the tonic

Irregular resolution

A type of resolution in which the leading tone of a chord resolves downwards to a note other than the tonic

Deceptive resolution

A type of resolution in which the leading tone of a chord resolves to a chord other than the expected tonic

Deceptive motion

A harmonic motion that leads the listener to expect a certain chord, but instead, a different chord is played

Tonicizing deceptive motion

A technique where a deceptive cadence is used to establish a new key

most common secondary dominants

• V/V (the dominant of the dominant)

• V/ii (the dominant of the supertonic)

• V/IV (the dominant of the subdominant)

most common suffixes

"7" and "maj7"

most common prefixes

"I" and "V"

Closely related keys to a major key

• Its relative minor

• The keys a fifth above and a fifth below

• The parallel minor

Closely related keys to a minor key

• Its relative major

• The keys a fifth above and a fifth below

• The parallel major