CHAPTER 17: SECONDARY LEADING TONE CHORDS
The V(7) and vii°(7) chords have similar functions in tonal music.
Same is true for secondary dominants – any chord that can be tonicized by V(7) can also be tonicized by vii°(7).
Rules for vii°7 or vii half dim7:
1.If the triad to be tonicized is minor, use vii°7 .
2.If the triad to be tonicized is major, use either vii°7/ OR vii half dim7/ (although the fully diminished appears more often.)
Leading tone chords of ii, IV, iv, V, and vi are more common than others.
The vii°/III in minor is identical to a diatonic triad (ii°) and the vii half dim7/III is identical to a diatonic 7th chord (ii half dim7).
THE FUNCTION OF THESE CHORDS CAN ONLY BE MADE CLEAR BY CONTEXT.
There is no vii half dim7/V in the minor mode – because the dominant key IS MINOR, even though the dominant triad is major.
Spelling Secondary Leading Tone Chords:
1. Find the root of the chord that is to be tonicized.
2. Go down a m2.
3. Using that note as the root, spell a diminished triad (for vii° of), a diminished seventh chord (for vii°7 of) or a half-diminshed seventh chord (for vii half dim7 of...)
Recognizing secondary leading tone chords:
1. If you find an altered chord in a passage and it is not a V(7)/, there is a good chance that it will be a secondary leading tone chord.
2. Is the chord a diminished triad, a diminished seventh, or a half-diminished seventh chord? If NOT, then it is NOT a secondary leading tone chord.
3. Find the note a m2 above the root of the altered chord.
4. Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is probably a secondary leading tone chord.
Secondary leading Tone Chords In Context:
1. Secondary Leading Tone chords resolve in the same way as primary leading tone chords: Leading tone up, 7th down.
2. Be careful not to double in resolving a vii°7/V or a vii half dim7/V.
3. Smooth voice leading is usually, but not always, a feature of these progressions.
4. A vii°7/vi can be inserted into a deceptive progression: V7 - vii°7/vi – vi.
5. Watch for chromatic not in bass line.
6. I6/4 - vii°7/vi – vi can also happen. Prolonging the dominant in the deceptive progression.
SEQUENCES INVOLVING SENCONDARY FUNCTIONS
Very common is the circle of 5ths sequence, but with one or more secondary functions (V/ OR vii°/) substituting for diatonic chords.
Example:
Diatonic circle of 5ths in key of C: (with Roman Numeral labels):
In Original Key: Em7(iii7) – Am7(vi7) – Dm7(ii7) – G7(V7) – C(I)
V7 Substitutes: E7(V7/vi) – A7(V7/ii) – D7(V7/V)
vii°7 substitutes: G#°7(vii°7/vi) – C#°7(vii°7/ii) – F#°7(vii°7/V)
You can use the above like a menu to choose different chords to substitute into a circle of 5ths progression:
Variation 1: E7 – Am7 – D7 – G7 – C
Variation 2: E7 – C#°7 – Dm7 – G7 – C
Variation 3: G#°7 – A7 – F#°7 – G7 – C
Voice leading problems using Major-Minor chords in a circle of 5ths sequence:
1. Each leading tone will resolve down by a chromatic half-step to become the 7th of the next dominant chord.
2. If the chords are in root position in a 4 part texture, incomplete 7th chords must alternate with complete 7th chords.
Deceptive Resolutions of Secondary Functions:
1. Watch for enharmonic spelling (i.e.: Don’t confuse a vii°/iii for a vii°7/V.)
2. Very common is the resolution of a V7/ up to the vi (or VI) of the chord that was being tonicized.
3. Another deceptive resolution is a V6/5/V followed by a V4/3/IV:
a. Features smooth voice leading
b. Smooth connection between ANY 2 dominant chords a mnor 3rd apart or a tritone apart. All such pairs of dominants share two pitch classes.
Other Secondary functions:
A short progression of chords will not be enough to accomplish a change of key and it is in such passages that other secondary functions occasionally occur.
Same is true for secondary dominants – any chord that can be tonicized by V(7) can also be tonicized by vii°(7).
Rules for vii°7 or vii half dim7:
1.If the triad to be tonicized is minor, use vii°7 .
2.If the triad to be tonicized is major, use either vii°7/ OR vii half dim7/ (although the fully diminished appears more often.)
Leading tone chords of ii, IV, iv, V, and vi are more common than others.
The vii°/III in minor is identical to a diatonic triad (ii°) and the vii half dim7/III is identical to a diatonic 7th chord (ii half dim7).
THE FUNCTION OF THESE CHORDS CAN ONLY BE MADE CLEAR BY CONTEXT.
There is no vii half dim7/V in the minor mode – because the dominant key IS MINOR, even though the dominant triad is major.
Spelling Secondary Leading Tone Chords:
1. Find the root of the chord that is to be tonicized.
2. Go down a m2.
3. Using that note as the root, spell a diminished triad (for vii° of), a diminished seventh chord (for vii°7 of) or a half-diminshed seventh chord (for vii half dim7 of...)
Recognizing secondary leading tone chords:
1. If you find an altered chord in a passage and it is not a V(7)/, there is a good chance that it will be a secondary leading tone chord.
2. Is the chord a diminished triad, a diminished seventh, or a half-diminished seventh chord? If NOT, then it is NOT a secondary leading tone chord.
3. Find the note a m2 above the root of the altered chord.
4. Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is probably a secondary leading tone chord.
Secondary leading Tone Chords In Context:
1. Secondary Leading Tone chords resolve in the same way as primary leading tone chords: Leading tone up, 7th down.
2. Be careful not to double in resolving a vii°7/V or a vii half dim7/V.
3. Smooth voice leading is usually, but not always, a feature of these progressions.
4. A vii°7/vi can be inserted into a deceptive progression: V7 - vii°7/vi – vi.
5. Watch for chromatic not in bass line.
6. I6/4 - vii°7/vi – vi can also happen. Prolonging the dominant in the deceptive progression.
SEQUENCES INVOLVING SENCONDARY FUNCTIONS
Very common is the circle of 5ths sequence, but with one or more secondary functions (V/ OR vii°/) substituting for diatonic chords.
Example:
Diatonic circle of 5ths in key of C: (with Roman Numeral labels):
In Original Key: Em7(iii7) – Am7(vi7) – Dm7(ii7) – G7(V7) – C(I)
V7 Substitutes: E7(V7/vi) – A7(V7/ii) – D7(V7/V)
vii°7 substitutes: G#°7(vii°7/vi) – C#°7(vii°7/ii) – F#°7(vii°7/V)
You can use the above like a menu to choose different chords to substitute into a circle of 5ths progression:
Variation 1: E7 – Am7 – D7 – G7 – C
Variation 2: E7 – C#°7 – Dm7 – G7 – C
Variation 3: G#°7 – A7 – F#°7 – G7 – C
Voice leading problems using Major-Minor chords in a circle of 5ths sequence:
1. Each leading tone will resolve down by a chromatic half-step to become the 7th of the next dominant chord.
2. If the chords are in root position in a 4 part texture, incomplete 7th chords must alternate with complete 7th chords.
Deceptive Resolutions of Secondary Functions:
1. Watch for enharmonic spelling (i.e.: Don’t confuse a vii°/iii for a vii°7/V.)
2. Very common is the resolution of a V7/ up to the vi (or VI) of the chord that was being tonicized.
3. Another deceptive resolution is a V6/5/V followed by a V4/3/IV:
a. Features smooth voice leading
b. Smooth connection between ANY 2 dominant chords a mnor 3rd apart or a tritone apart. All such pairs of dominants share two pitch classes.
Other Secondary functions:
A short progression of chords will not be enough to accomplish a change of key and it is in such passages that other secondary functions occasionally occur.
