Unit 7 Study Guide: Secondary Functions and Chromatic Harmony

Tonicization

The process of treating a chord other than the tonic as a temporary center of gravity.

Secondary Tonic

The chord being tonicized, or the 'target' chord.

Chromaticism

Using notes outside the diatonic scale.

Secondary Dominant

A Major triad or Dominant Seventh chord that precedes a diatonic major or minor triad.

Root of Secondary Dominant

A Perfect 5th above (or Perfect 4th below) the root of the target chord.

Function / Target Notation

Analyzing chords using slash notation.

$V/V$

A secondary dominant that resolves to the Dominant (V).

Accidentals in Secondary Dominants

Generally require altering the third of the secondary dominant to create a temporary leading tone.

$V^7/IV$

A secondary dominant seventh that resolves to the Subdominant (IV).

Voice Leading Rule for Temporary Leading Tone

The temporary leading tone must resolve UP by a half step to the root of the target chord.

Root of Secondary Leading-Tone Chord

A minor 2nd (half step) below the root of the target chord.

Fully Diminished Seventh

A diminished seventh chord structure usually standard in analysis.

Common Secondary Dominants in C Major

Specific secondary dominant functions and their corresponding targets in C Major.

Tonicization vs. Modulation

Tonicization is short-term, highlighting a chord; modulation establishes a new tonal center.

Misidentifying the Target Chord

Incorrectly identifying the function of a prominent chord based on wrong assumptions.

Temporary Leading Tone Resolution

Always resolve the raised accidental UP to the target chord's root.

Misconception of V/IV

Confusion between a C Major triad (I) and a C Dominant 7th ($V^7/IV$).

Tonicization of Diminished Chords

You cannot tonicize diminished chords like $vii^ oc$ or $ii^ oc$.

Required Accidentals for $V/ii$

Raise C to C# when tonicizing D minor.

Characteristics of Secondary Functions

Secondary functions introduce accidentals and generally follow SATB rules.

Seventh Factor in Resolution

In secondary seventh chords, the seventh resolves DOWN by step.

Diatonic vs. Secondary Function

Distinguishing between a diatonic chord and a secondary function is critical.

Accidentals Resolution in Dominant 7th

Lowering B to Bb creates the dominant seventh in $V^7/IV$.

Notes in Secondary Dominant $V/vi$

E - G# - B for A minor with accidentals to be accounted for.

Secondary Leading-Tone Triad Quality

Secondary leading-tone triads are always diminished ($vii^ oc/x$).