Chapter 13 - Secondary Function Harmony

Ti

________ is the third of a dominant chord or the root of a leading- tone chord and both resolve to tonic.

voice line

When any ________ includes chromaticism, harmonizing those non- diatonic tones requires going out of the key.

Chromatic harmony

________- The study of secondary dominants and leading tones.

temporary tonic

If the ________ is subdominant, then the leading- tone relationship is not an altered note in a major tonality (it occurs between Mi and Fa.

Fi

If the ________ occurs in the melody, then most likely your chord is in the root position.

Unstable

How active or restless the note is

Most active note

Scale degree 7, the leading tone, Ti

Second most active tone

Scale degree 4, subdominant pitch, Fa

Tonicization

Borrowing one or two chords from a closely related key to heighten the harmonic intensity and color

Leading tone relationship

When an accidental resolves upward by a half step

The bottom of the chord symbol

Represents the temporary tonic

The chord symbol above the slash

Represents the chord quality, inversion, and function of this borrowed chord in relation to the temporary tonic

Chromatic harmony

The study of secondary dominants and leading tones

If you have an accidental that resolves upward by a half step

then you have a leading cone relationship in a new key.

If the altered note is the third of the borrowed chord and analyze as a major triad or major-minor seventh chord

then you have a chord functioning as a dominant (V or V7) in another key.

If the altered note is the root of a diminished triad or seventh chord

then you have a secondary chord functioning as a leading tone vii° or vii°7 in another key.

A secondary chord symbol has two parts

* The bottom of the chord symbol
* The chord symbol above the slash

If the chromatic note is an essential member of the chord that leads to a non-tonic chord and if it has dominant function

then there’s a secondary relationship resolving to a temporary tonic.

When analyzing a melody for performance, the first thing you should do is

* Determine the mode
* Determine tonal center
* Determine appropriate solfege or scale-degree names or numbers.

If you have a melody that contains a Fi-So,

then you probably have a shift of tonal center and tonicization to the key of the dominant.

Common chords that tend to be tonicized are

IV, vi, and ii.

If the temporary tonic is subdominant

then the leading-tone relationship is **not an altered note in a major tonality** (it occurs between Mi and Fa).

* In a minor tonality, Me does the rise to Mi.

**See** (secondary function) and **Perform**

Sight-Singing

**Hear** (secondary function) and **Notate**

Melodic and Harmonic Dictation

**Analyze** (secondary function) and **Create**

Score Analysis, Harmonizing a Melody, and Part Writing

If you have a **Fi-So** in your melody

then you may harmonize with either a secondary dominant or a secondary leading tone.

To harmonize Fa-Fi-So

Use ii or IV

Most common melodic patterns containing an accidental

* **So-Fi-So**
* **Fa-Fi-So**