Secondary Dominants and Leading-Tone Chords to V

Course Overview and Context

This material was presented on May 26, 2026, as part of MUS 203: Classical Theory and Musicianship 1. This session, identified as Lecture #11, focuses on secondary functions, specifically Chapter 19 of the Clendinning & Marvin curriculum. It follows a semester-long progression of harmonic analysis:

• Weeks 1–3: Revision of previous theory content, the Phrase Model, $6/4$ chords, and Cadences.

• Weeks 4–5: Embellishments and Suspensions.

• Weeks 6–9: Voice-leading chords, catch-up revision, Sentences, Periods, and Sequences.

• Weeks 11–12: Applied (secondary) dominants, starting with those that resolve to $V$.

Chapter 19: Secondary Dominant and Leading-Tone Chords to V

The primary focus of this chapter is the study of chords that function as temporary dominants or leading-tone chords to the dominant ($V$) scale degree. The lecture is organized into four main areas:

1. Intensifying the dominant.

2. Secondary dominants to $V$.

3. Secondary leading-tone chords to $V$.

4. Secondary-function chords used within dominant expansions.

Intensifying the Dominant

Intensification involves reinforcing the arrival of the dominant chord, often to mark a Half Cadence ($HC$) or to prepare for a resolution.

Example 19.1: J. S. Bach, "Wachet auf," mm. 7–11 In this chorale example, the harmonic progression in $E\flat$ major moves from Tonic toward a Half Cadence.

• Harmonic Labels: $E\flat: V$ → $I$ → $V^6$ → $V$ → [undetermined secondary chord] → $V$.

• The use of secondary functions serves to highlight the dominant arrival ($HC$) by providing a temporary sense of the dominant being a new "tonic."

Secondary Dominants to V: Tonicization and Modulation

A secondary dominant is a chromatic chord that functions as a dominant of a chord other than the tonic. The process of making a non-tonic chord sound temporarily like a tonic is called tonicization.

Example 19.2: J. S. Bach, ‐Ermuntre dich, mein schwacher Geist," mm. 1–8 This excerpt in $G$ major demonstrates how a secondary dominant ($V/V$) can create a tonicized half cadence ($THC$).

• Progression: $G: I - vi - V - I^6 - I - V/V - V$.

• Functional Analysis: The segments are organized into Tonic ($T$), Dominant ($D$), and Pre-dominant ($PD$) areas.

• The $V/V$ (Five-of-Five) chord leads directly to $V$, creating a strong pull toward the half cadence. The phrase then continues: $I - IV - IV - vi - V - I$, ending in a Perfect Authentic Cadence ($PAC$).

Example 19.4: W. A. Mozart, Piano Sonata in C Major, mvt. 1, mm. 8–17 This illustrates the difference between tonicization and modulation.

• At measure 8, the music is in $C$ major ($I$).

• By measure 10, a $ii^6$ chord acts as a pre-dominant, leading to a $V$ chord and a $THC$ at measure 12.

• From measure 14 onwards, the piece has modulated to $G$ major. This is evidenced by repeated $F\#$ accidentals in the melody.

• Labeling in the new key ($G$ major): $I^6 - IV - V^{6}_{5}/V - tr$.

Spelling Secondary Dominants to V

To spell a secondary dominant chord (such as $V/V$ or $V^7/V$), follow these three steps:

1. Identify the target chord: If the key is $A$ major, the target is the dominant, $V$, which is an $E$ major triad.

2. Think in the temporary key: Imagine $E$ major is the tonic. What is the dominant ($V$ or $V^7$) of $E$ major? In this case, the answer is a $B$ major triad or a $B^7$ chord.

3. Apply to the original key: The $B^7$ chord features a $D\#$ . This accidental is the raised fourth scale degree

Example 19.8: Spelling in A major

• $(a)$ Target: $A: V$ (an $E$ major triad).

• $(b)$ Temporary context: $E: V^7$ ($B-D\#-F\#-A$ ).

• $(c)$ Result: $A: V^7/V$ resolving to $V$.

Example 19.9: Frederic Chopin, Prelude in C Minor, mm. 1–4 This Largo uses secondary dominants for harmonic color.

• Structure: $C: i - V^{7}/V - V - V^{7}/V - V$.

Voice-Leading Rules for Secondary Dominants

When writing and resolving secondary dominants, specific chromatic rules apply to ensure smooth voice leading.

Cross Relations (Example 19.11):

• Avoid: A cross relation occurs when a pitch and its chromatically altered version appear in different voices in adjacent chords (e.g., $D♩$ in the tenor and $D\#$ in the soprano).

• Good: Keep the chromatic alteration in the same voice ($4-\#4-5$ ). This creates a chromatic line.

• OK: Chromatic voice exchanges or leaping to the raised $\#4$ in the bass is acceptable.

• Minor Key Warning: Avoid the augmented second ($A2$) interval between $\flat 3$ and $\#4$ in minor keys.

Secondary Leading-Tone Chords to V

A secondary leading-tone chord is a diminished triad ($vii^{┆}$) or seventh chord ($vii^{┆ 7}$ or $vii^{∅ 7}$) that acts as the leading-tone chord to a pitch other than the tonic.

Example 19.12: Clara Schumann, Romanze, mm. 1–4

• Key: $a$ minor.

• Labels: $i$ → $i$ → $i^6$ → $ii$ → $vii^{┆ 7}/V$ → $V^{8-7}$.

• The $vii^{┆ 7}/V$ contains the note $D\#$ , which is the leading tone to the dominant ($E$).

Spelling Process (Example 19.13): To spell $vii^{┆ 7}/V$ in $A$ major:

1. The dominant ($V$) is $E$.

2. The leading tone of $E$ is $D\#$ .

3. Build a diminished seventh chord on $D\#$ : $D\#-F\#-A-C♩$ .

Resolutions of Secondary Leading-Tone Seventh Chords

Resolving to Triads (Example 19.14):

• In $F$ major: $vii^{┆ 7}/V$ resolves to $V$. Care must be taken to avoid doubling the leading tone of the temporary key.

• The chord usually resolves with the temporary leading tone ($\#4$ ) moving up to $5$, and the seventh of the chord moving down.

Resolving to Seventh Chords:

• When resolving $vii^{┆ 7}/V$ to $V^7$, the chromatically altered note ($\#4$ ) may resolve down to the seventh of the $V^7$ chord ($4$) to create a smoother line (Example 19.14f-h).

Resolving to Cadential 6/4 (Example 19.15):

• The $vii^{┆ 7}/V$ can resolve to a cadential $6/4$ ($V^{6}_{4} - \text{ } ^{5}_{3}$).

• The diminished triad version ($vii^{┆ 6}/V$) can also function as a passing chord between $V^6$ and $V$.

Secondary-Function Chords in Dominant Expansions

Secondary dominants and leading-tone chords are frequently used to expand a dominant area, rather than just leading to a cadence.

Example 19.16: W. A. Mozart, Rondo in E♩ Major

• The passage features an alternating expansion of the dominant.

• Progression: $I$ → $V$ → $V^7/V$ → $V$ → $V^7/V$ → $V$ → $V^7/V$ → $V$.

Spelling Dominant Expansions:

• Example 19.17 ($V^6 - V^{4}_{2}/V - V$): In $F$ major, think of this as a passing motion in the key of $C$ ($I^6 - V^6_4 - I$). The secondary chord used is $V^6_4/V$.

• Example 19.18 ($V - vii^{┆ 6}/V - V^6$): In $D$ major, this expansion uses the secondary leading-tone chord as a passing chord. This mimics a $I - vii^{┆ 6} - I^6$ motion in the key of $A$ major.

Example 19.19: "Love Me Tender" (Elvis Presley & Vera Matson)

• Key: $G$ major.

• Measures 5–8: $G (I)$ → $A^7 (V^7/V)$ → $D^7sus (V^7)$ → $G (I)$.

• This provides a modern, popular example of applied dominants where the $A^7$ functions as the dominant of the primary dominant ($D^7$).

Assignments and Future Sessions

• In-Class Exercises: Students should have staff paper and pencils ready for immediate practice problems.

• Tutorial Preparation: Review Chapters 14, 15, 16, 17, 18, and 19 for the next tutorial session.

• Week 12 Preview: Reading preparation for Chapter 20, which covers applied chords to degrees other than $V$ (e.g., $V/ii$, $V/vi$, etc.).