Unit 7: Harmony and Voice Leading IV: Secondary Function

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.
The most closely related keys are the $ones that differ by only one accidental.$
They are usually $adjacent to the original key on the circle of fifths.$
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

Secondary dominant - Dominant chord that is not in the primary key but is used to tonicize a chord in a secondary key.
It’s usually a $major chord that is a fifth above$ the chord being tonicized.

Suffixes and prefixes are $added to chord symbols$ to indicate their function in a progression.
The most common suffixes are "7" and "maj7", which indicate a dominant seventh chord and a major seventh chord, respectively.
The most common prefixes are "I" and "V", which indicate the tonic and dominant chords, respectively.

Secondary dominant - A chord that functions as the dominant of a chord other than the tonic. It is usually a major chord built on the fifth degree of the target chord.
[[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)

When part writing secondary dominants, it is important to follow the $rules of voice leading$ to ensure smooth and effective harmonic progressions.
The leading tone of the secondary dominant $should resolve to the tonic of the chord it is leading to.$
The seventh of the secondary dominant $should resolve down by step to the third of the chord it is leading to.$
The root of the secondary dominant $should move up by step to the third of the chord it is leading to,$ unless it creates parallel fifths or octaves.
In four-part writing, the fifth of the secondary dominant $can be omitted$ if necessary to avoid voice leading errors.

Regular resolution - A type of resolution in which the leading tone of a chord resolves upwards to the tonic.
This resolution creates a $sense of stability and finality$ in the music.

Irregular resolution - A type of resolution in which the leading tone of a chord resolves downwards to a note other than the tonic.
This type of resolution creates a $sense of tension and instability$ in the music.

Deceptive resolution - A type of resolution in which the leading tone of a chord resolves to a chord other than the expected tonic.
This type of resolution creates a $sense of surprise and unpredictability$ in the music.

Secondary leading tone chords are $notated with a slash$ followed by the chord name of the key being borrowed from. * For example, C7/F indicates a C7 chord with an F in the bass, which is borrowed from the key of F major.

The leading tone of the secondary key $should resolve to the tonic of the original key.$
The other notes of the secondary leading tone chord $should resolve to notes in the target chord.$
The bass note of the secondary leading tone chord $should move by a step to the root of the target chord.$
Avoid parallel fifths and octaves between the secondary leading tone chord and the target chord.

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. * The new key is usually the relative major or minor of the original key.
By tonicizing the A minor chord, the composer $can establish the key of A minor within the composition.$