Section 1: Chapter 2 Secondary Dominants And Borrowed Chords

Question 1

Secondary dominants give the effect of which progression?

Answer 1

V-I

Question 2

The compositional method used to give a momentary tonic sound to a chord is called:

Answer 2

Tonicization

Question 3

What is the term used to describe a harmony with chromatic alterations?

Answer 3

Chromaticism

Question 4

The chord quality of a secondary dominant will always be:

Answer 4

Dominant/ Maj min7

Question 5

A secondary leading tone chord is constructed on which interval below its target chord?

Answer 5

Minor 2nd

Question 6

The technique that uses chords borrowed from a parallel key is known as:

Answer 6

Mode Mixture

Question 7

When the tonic chord is borrowed from the Major and is used in place of the I, it is called a ___________:

Answer 7

Picardy 3rd

Question 8

What are secondary dominants?

Answer 8

A secondary dominant is a triad or dominant seventh chord built upon the dominant of supertonic (ii), mediant (iii, III), subdominant (iv, IV), dominant (V), submediant (vi, VI), and subtonic (VII) of the prevailing key.

Question 9

What is used for harmonic analysis for secodary dominants?

Answer 9

use two Roman numerals separated by a slash.

The top Roman numeral will reflect the function and the quality of the chord; the bottom numeral will reflect the secondary chord relation. For example, a V7/ii, would literally translate to the dominant seventh of the supertonic (ii) minor. A more common interpretation would be the “Five seven of two.”

Question 10

What are characteristics of secondary dominants in Major?

Answer 10

• Secondary dominants will have at least one pitch that is foreign to the key.
• The most common form of a secondary dominant is the V/V or the V7/V.
• Secondary dominants will only be used to precede a Major or minor qualitychord.
• The use of the V/IV is a possibility; however, it is not the best option becauseV/IV is identical to tonic (I) of the key.
• Composers will add a 7th to the secondary dominant of the IV (V7/IV) in order togive greater clarity to tonicization.

Question 11

What are characteristics of secondary dominants in the Minor mode?

Answer 11

The same concepts apply in minor as they do in Major with a few additions.

• The V/III and V7/III are respectively identical to the VII and VII7 but are still an option as a secondary dominant.
• The V/III and V7/III are not chromatically altered, but are still an option for a secondary dominant.
• The V/VI is normally analyzed as the III vice a secondary dominant.

Question 12

How is a V/ii, V7/ii used in an harmonic structure?

Answer 12

Any inversion except 2nd

Question 13

How is a V/iii, V7/iii used in a harmonic structure?

Answer 13

Any inversion except 2nd

Question 14

How is a V/III, V7/III used in a harmonic structure?

Answer 14

any inversion

Question 15

How is a V/iv, V7/iv used in a harmonic structure?

Answer 15

any inversion

Question 16

How is a V7/IV used in a harmonic structure?

Answer 16

any inversion

Question 17

How is a V/V, V7/V used in a harmonic structure?

Answer 17

Major: Any inversion

Minor: Any inversion except 2nd

Question 18

How is a V/vi, V7/vi used in a harmonic structure?

Answer 18

Any inversion

Question 19

How is a V/VI, V7/VI used in a harmonic structure?

Answer 19

Any inversions

2nd inversion – only used in a descending line

Question 20

How is a V/VII, V7/VII used in a harmonic structure?

Answer 20

Any inversion 2nd

Question 21

Are seventh chords available for tonicization its secondary dominant?

Answer 21

Primary and secondary triads that are available for tonicization by a secondary dominant, may occur with its dominant 7th tone.

Question 22

What is the voice movement of a secondary dominant?

Answer 22

Secondary dominants are typically treated the same as regular V7 or V chords, specifically, with regards to voice leading. Leading tones will resolve up and the 7ths will resolve down. If a secondary dominant 7th is resolving to another 7th chord, the leading tone may move down chromatically.

Question 23

What are the principles for secondary leading tone chords?

Answer 23

1. If the triad being tonicized is minor, use the fully diminished 7th secondaryleading tone chords (viio7/).
2. If the triad being tonicized is Major, use the viio7/ or viiø7/.
3. The viio7 is more widely used.
4. Secondary leading tones move in the same manner as secondary dominants.

•Take caution not to double the 7th in resolving the viio7/V or the vii ø7/V.

Question 24

Is there an exception to the secondary leading tone chord?

Answer 24

there is no secondary leading tone chord for the V chord in the vii ø7. This is an exception to the statement, “any chord or triad that can be tonicized by a secondary dominant may be tonicized by a secondary leading tone.”

Question 25

What are the two most borrowed chords from the different modes?

Answer 25

The two most common borrowed chords are the Dominant (V) and Tonic (I).

Question 26

What are some thoughts of borrowed chords?

Answer 26

1. Always follow normal voice leading principles and those that apply to secondarydominants. 2. Whenever possible, resolve chromatically lowered tones down and chromaticallyraised notes up. 3. Always resolve the viio7 to the tonic. 4. Nonharmonic movement occurring with borrowed chords must also be borrowedfrom the parallel key.

Question 27

What happens if a secondary dominant 7th chord resolves to another 7th chord?

Answer 27

The leading tone may resolve down chromatically

Question 28

What is dominant substation (tritone substitution)

Answer 28

Any chord or triad that can be tonicized by a dominant or secondary dominant may also betonicized by a dominant constructed on a root a diminished fifth (or tritone) above the dominant.

Question 29

What would be a tritone substitution dominate chord in d major?

Answer 29

Eb7

Question 30

If a triad is being tonicized in minor what type of diminished chord will be used?

Answer 30

fully diminished

Question 31

If the triad being tonicized is Major what type of diminished chord will be used?

Answer 31

use the viio7/ or viiø7/

Question 32

How do you indicate a borrowed chord from the parallel minor?

Answer 32

with an alteration in front of the chord i.e bIII