Glossary
Accidentals
Sharps, flats, or naturals that alter the pitch of a note, often serving as a primary visual clue for the presence of a secondary chord or tonicization.
Example:
If a piece is in G major and you suddenly see a C# in a chord, that accidental might indicate a V/ii chord (A major) leading to D minor.
Chordal Seventh
The seventh above the root of a seventh chord, which typically resolves down by step in proper voice leading.
Example:
In a D7 chord (D-F#-A-C), the C is the chordal seventh and would typically resolve down to B when moving to a G major chord.
Dominant (V)
The chord built on the fifth scale degree of a key, which is a very common target for tonicization by a secondary dominant (V/V).
Example:
In F major, the C major chord is the dominant, and it can be tonicized by a G7 chord (V7/V).
First Inversion
A chord inversion where the third of the chord is in the bass, frequently used for secondary dominant chords to create a smooth, often chromatic, bassline.
Example:
A D7 chord (V7/V) in G major might be written in first inversion (D-F#-A-C with F# in the bass) to create a chromatic bassline leading to G.
Fully Diminished Seventh Chords (vii°⁷)
A diminished triad with a diminished seventh above the root, commonly used as a secondary leading-tone chord, especially prevalent in minor keys.
Example:
In A minor, a G# diminished 7th chord (G#-B-D-F) is a fully diminished seventh chord (vii°7) that strongly resolves to A minor.
Half-Diminished Seventh Chords (viiø⁷)
A diminished triad with a minor seventh above the root, used as a secondary leading-tone chord primarily in major keys.
Example:
In C major, a B half-diminished 7th chord (B-D-F-A) is a half-diminished seventh chord (viiø7) that resolves to C major.
Secondary Dominant
A dominant chord that functions as the dominant of a temporary tonic, rather than the main key's tonic.
Example:
In C major, an A7 chord (A-C#-E-G) is a secondary dominant (V7/ii) because it resolves to D minor (ii), treating D minor as a temporary tonic.
Secondary Leading-Tone Chords
Diminished or half-diminished chords that function as the leading-tone chord of a temporary tonic, creating a dominant function that resolves to that temporary tonic.
Example:
In G major, an F# diminished 7th chord (F#-A-C-Eb) is a secondary leading-tone chord (vii°7/V) that resolves to C major (V).
Subdominant (IV)
The chord built on the fourth scale degree of a key, which is a common target for tonicization by a secondary dominant (V/IV).
Example:
In G major, the C major chord is the subdominant, and it can be tonicized by a G7 chord (V7/IV).
Supertonic (ii)
The chord built on the second scale degree of a key, often a minor triad, which is a common target for tonicization by a secondary dominant (V/ii).
Example:
In D major, the E minor chord is the supertonic, and it can be tonicized by a B7 chord (V7/ii).
Temporary Leading Tones
A chromatically altered note within a secondary chord that functions as a leading tone to the root of the temporary tonic, typically resolving up by a half step.
Example:
In a V/ii chord in C major (A7), the C# is a temporary leading tone that resolves up to D, the root of the ii chord.
Tonicization
When a chord other than the tonic is treated as a temporary tonic, creating a brief sense of a new key without fully modulating.
Example:
In C major, a D7 chord followed by a G major chord is a tonicization of G major (V/V-V), making G feel like a temporary home key.