What are secondary leading-tone chords?

What are secondary leading-tone chords?

In music theory, a secondary leading-tone chord or secondary diminished seventh (as in seventh scale degree or leading-tone, not necessarily seventh chord) is a secondary chord that is the leading-tone triad or seventh chord of the tonicized chord, rather than its dominant.

Can secondary dominant chords be minor?

You are correct. The dominant chord is a major chord in both major and minor keys so regardless it works the same.

Is the leading-tone raised in minor?

A leading-tone chord is a triad built on the seventh scale degree in major and the raised seventh-scale-degree in minor. The quality of the leading-tone triad is diminished in both major and minor keys.

How do you write a leading tone chord?

Overview

1. The leading-tone chord as a triad is always used in first inversion (viio6 v i i o 6 ).
2. In minor we need to remember to use ti (↑^7 ), not te (↓^7 ), to build the leading-tone chord.
3. In major the leading-tone 7th chord’s quality is half diminished if we don’t alter it (e.g. in C major: B-D-F-A).

How do you do secondary dominant chords?

Writing Secondary Dominants

1. Find the the root of the chord after the secondary dominant (the Roman numeral under the slash). It is a major or minor triad.
2. Find the pitch a P5 above the root.
3. Build a dominant seventh chord or major triad on this pitch.
4. Resolve the chordal 7th (down) and the secondary leading-tone (up).

What is the secondary dominant of a minor?

A secondary dominant is used to tonicize the chord you are moving to, ie, to make the chord of resolution feel like the I/i chord. This is accomplished through creating a dominant chord a fifth above the chord of resolution; the old V-I(i) resolution.

How do you tell if a chord is a secondary dominant?

Determine the note that would be a perfect 5th below the root of the chord you are analyzing. If this note would be the root of a diatonic chord, the chord you are analyzing is a secondary dominant. Since B is , the F♯ major chord in first inversion is tonicizing V . Therefore the chord is V V V 6 / V .

How do you fix a leading tone?

The typical rule is that the leading tone must resolve up to tonic when it is in an outer voice (that is, the soprano or bass). If the leading tone is in an inner voice, it can resolve down a third to the fifth of the tonic chord (a so-called “sprung” or “frustrated” leading tone).

When do you resolve a secondary leading tone?

As with secondary dominant chords, secondary leading tone chords should be resolved just like you learned to resolve diminished chords in diatonic harmony: leading tones should be resolved up to their tonics, and sevenths, if present, should resolve down by step. Parallels should be avoided.

How are diminished chords used as secondary harmonies?

Using diminished chords as a secondary harmonies Diminished triads and seventh chords are associated with the leading tone, having a dominant function that pulls us to the tonic chord. Since viio(with or without a seventh) is also a dominant function chord, it too can function as a secondary chord like a secondary dominant.

Why are applied chords referred to as secondary dominants?

Note: Applied chords are also frequently referred to as “secondary dominants.” This reflects the fact that they have a dominant function, but in some key other than the global tonic, or, primary key. Being able to distinguish tonicizations from modulations can be difficult. In this exercise, you will be given two hypothetical situations.

Is the Viio a dominant or secondary chord?

Since viio(with or without a seventh) is also a dominant function chord, it too can function as a secondary chord like a secondary dominant. In this case it works as a secondary leading tone chord rather than a dominant, with a root one half step below the chord of resolution, sounding like a viio – I progression.