Secondary Dominants and
Leading-Tone Chords
Chapter 14
Secondary Dominants
• Chords that are altered to sound like
dominants (V)
• Minor chords become major
• 7th chords become major-minor 7th chords
Characteristics
• Labeled with /
– V/vi read as “five of six”
• Contain nondiatonic tones
• Most move in circle progression
– V/vi to vi, V/ii to ii
• The chord that follows is called the tonicized chord
– Tonicized chord becomes tonic for just a moment
• Chains of secondary dominants are possible
• May be inverted
• V/IV does not exist (no altered pitches)
Part Writing
• Resolve the 7th factor of a V⁷ down by step
• Fifth of a 7th chord may be omitted if
necessary
Secondary Leading-Tone Chords
• Chords that are altered to sound like leadingtone chords (vii°)
• Labeled with /
– vii°/ii, vii°/V
Characteristics
• Qualities
– Diminished triad (vii°)
– Diminished/minor 7th chord (viiø⁷)
– Diminished/diminished 7th chord (vii°⁷)
• Contain nondiatonic tones
• Move in circle progression
– vii°⁷/ii to ii, vii°⁷/IV to IV
• Creates LT relationship with major or minor chords
ONLY
• The chord that follows is called the tonicized chord
Part Writing
• For vii°⁶ chords, double the bass
• Resolve the 7th factor of a vii°⁷ down by step
• Resolve tritones
– d5 inward to a 3rd
– A4 outward to a 5th