Music Theory 8-15. STUDY. Flashcards. Learn. Write. Spell. Test. PLAY. Match. Gravity. Created by. Stormcloudsurfer. Terms in this set (48) Secondary Dominant. The dominant (V) of a key other than the tonic. Secondary Leading Tone Chord. The leading tone (vii) of a key other than the tonic.
Secondary Leading Tone chords: CHAPTER 13 Secondary Chords Secondary chords relate to the key of the chord which follows (key of the moment) but do not effect a modulation. For example, the secondary chords to the supersonic chord in C major come from the key of d minor. A secondary chord contains at least one chromatically altered note; the.
The odd chord out is B diminished, the leading tone triad. A secondary dominant can be constructed above any of the five non-tonic major or minor triads. Examples: the secondary dominant of E minor is an B major chord, the secondary dominant of A minor is an E major triad.
An altered chord is a chord in which one or more notes from the diatonic scale is replaced with a neighboring pitch from the chromatic scale.According to the broadest definition any chord with a nondiatonic chord tone is an altered chord, while the simplest use of altered chords is the use of borrowed chords, chords borrowed from the parallel key, and the most common is the use of secondary.
Using diminished triads as secondary chords works just like using the leading tone triad in a diatonic progression. In other words, its use is somewhat limited. This triad, vii o, is not often used diatonically in root position. It is most often found in first inversion, and this is the way it will be found used as a secondary chord.
SECONDARY LEADING TONE CHORDS Secondary Leading Tone chords constructed using the key of the moment. FIGURE 13.8. Secondary Leading Tone Chords.
General Guidelines for Seventh Chords Solution 1a: LT in soprano, Tonic chord incomplete (complete) Follow the voicing guidelines for triads, except you may omit the 5th (if so, double the root). Resolving seventh chords: 1. FIRST, resolve the seventh of the chord down by step. 2. SECOND, resolve the leading tone (if present) up by step.
Construct Chords Logically Rule 4 Never double a tendency tone (leading tone or chordal seventh) or a chromatically altered tone. Resolving both voices correctly will result in parallel octaves. Guideline 5 In general, write complete chords. In triads and seventh chords, only the chordal fifth may be omitted. Exception: Inversions of.