Chapter 19 Notes Intensifying the Dominant

1. Chapter 19 NotesIntensifying the Dominant Secondary Dominants and Secondary Leading-Tone Chords; New Voice-Leading Chords

2. C: V/V V I Key Concept - page 352 The V7/V (read “V7 of V”) acts as a temporary dominant to the V chord that follows. Triads may also serve as secondary dominants (V/V).

3. C: V/V V I Key Concept - page 353 All V7/V (or V/V) chords are spelled by chromatically altering a pitch. The alteration is always #4 of the primary key, which functions as the leading tone in the temporary key of V.

4. C: V/V V I Key Concept - page 353 When you spell a secondary dominant to V, double-check that • the chord is build on 2 • the triad quality is major (with #4; in minor, you also need to raise 6) • the chordal seventh (if present) is minor.

5. C: V/V V I Key Concept - page 359 When you write and resolve a V7/V in common-practice style, be sure you • avoid doubling the #4 (because of its leading-tone function) • resolve the temporary leading tone (#4 resolves up to 5) • resolve the chordal seventh down (1 resolves down to 7).

6. Key Concept - page 359 Resolving root-position chords: • When moving from a V/V to a V, both chords are complete and resolve normally (remember leading-tone!). • If you resolve a complete root-position V7/V to a root position V, the chord of resolution will be incomplete (with three roots and a third) if you resolve all of the tendency tones correctly. • If you want to resolve a root-position V7/V (missing its fifth; example 19.7c); alternatively, • the temporary leading tone may skip instead to the fifth of the next chord to fill out a complete dominant chord (example 19.7d). The note to which the leading tone should resolve is usually in another voice, as shown by the dotted arrow in this example. • The V chord to which the secondary dominant resolves may be embellished by a cadential 64 (example 19.7e).

7. 7 7 Key Concept - page 359 Resolving root-position chords: • When moving from a V/V to a V, both chords are complete and resolve normally (remember leading-tone!). C C A: V/V V C C a: V/V V

8. 7 7 LT LT Key Concept - page 359 Resolving root-position chords: 2. If you resolve a complete root-position V7/V to a root position V, the chord of resolution will be incomplete (with three roots and a third) if you resolve all of the tendency tones correctly. C INC A: V7/V V C INC a: V7/V V

9. 7 7 LT LT Key Concept - page 359 Resolving root-position chords: • If you want to resolve a root-position V7/V to a complete chord, then use an incomplete V7/V (missing its fifth; example 19.7c); alternatively, INC C A: V7/V V INC C a: V7/V V

10. 7 7 LT LT Key Concept - page 359 Resolving root-position triads: 4. the temporary leading tone may skip instead to the fifth of the next chord to fill out a complete dominant chord (example 19.7d). The note to which the leading tone should resolve is usually in another voice, as shown by the dotted arrow in this example. C C A: V7/V V C C a: V7/V V

11. 7 7 LT LT A: V7/V V6453 a: V7/V V6453 Key Concept - page 359 candential 64 Resolving root-position chords: 5. The V chord to which the secondary dominant resolves may be embellished by a cadential 64 (example 19.7e). candential 64

12. Key Concept - page 360 The sudden introduction of #4 in one voice right after the diatonic 4 sounds in another voice is called a cross relation (Example 19.8a), a technique generally avoided in common-practice music. When you write secondary dominants that are prepared by their diatonic counterparts, keep the diatonic pitch in the same voice as the chromatically altered pitch (Example 19.8b): 4-#4-5.

13. Key Concept - page 360 Examples The sudden introduction of #4 in one voice right after the diatonic 4 sounds in another voice is called a cross relation (Example 19.8a), a technique generally avoided in common-practice music. When you write secondary dominants that are prepared by their diatonic counterparts, keep the diatonic pitch in the same voice as the chromatically altered pitch (Example 19.8b): 4-#4-5. (a) Cross relation - avoid (b) 4-#4-5 in same voice (c) Chromatic voice exchange (d) Leap to #4 in bass A: ii V7/V V ii V7/V V ii6 V7/V V ii V65/V V

14. Key Concept - page 361 We may use vii/V, vii7/V, or vii7 as secondary leading-tone chords to V. The diminished triad and fully diminished seventh chord are the most common choices, because these qualities are associated with leading-tone function. The half-diminished quality is possible as well, but only if the temporary tonic is a major chord.

15. Key Concept - page 362 When you resolve a secondary leading-tone to V: • Resolve #4 up to 5. • Resolve the chord seventh (3 or lowered 3) down to 2. • Avoid parallel fifths and d5 to P5 unless you can place then in the inner voices (Examples 19.9a and e), but you may write A4 to P4. • Be sure not to double the third in the chord of resolution (V)-that’s the leading tone in primary key!

16. Key Concept - page 362 Examples When you resolve a secondary leading-tone to V: • Resolve #4 up to 5. • Resolve the chord seventh (3 or lowered 3) down to 2. • Avoid parallel fifths and d5 to P5 unless you can place then in the inner voices (Examples 19.9a and e), but you may write A4 to P4. • Be sure not to double the third in the chord of resolution (V)-that’s the leading tone in primary key! 10 10 LT 7 7 LT LT LT F: vii/V V vii6/V V vii7/V V vii7/V V 10 10 LT 7 LT LT f: vii/V V vii6/V V vii7/V V

17. Passing 42 Chords • Same idea as other passing chords but it is a x42. E: I I42 IV6 (P) E: i i42 iv6 (P)

18. Neighboring 42 Chords • Again, same as the neighboring chords, but it is a 42 in passing. G: I ii42 I (N42) I G: i ii42 i (N42) i