Glossary
Accidentals
Notes not belonging to the main key signature that often signal a tonicization.
Example:
Seeing a C# in a piece otherwise in G major might indicate an accidental leading to D major (V of G).
Cadential Extension
Harmonic prolongations that add extra flair to a cadence, occurring either before (prefix) or after (suffix) the cadence.
Example:
A series of secondary dominants leading up to a final cadence can create a cadential extension.
Chromatic Bassline
A bassline that moves by half steps, often seen with secondary dominants in first inversion (e.g., 4-#4-5).
Example:
The bass moving from F to F# to G (in C major) forms a chromatic bassline, often indicating a V/V-V progression.
Common Tonicizations
The most frequent non-tonic chords that are temporarily emphasized, typically V, IV, or ii of the primary key.
Example:
In a piece in G major, you'd most likely see common tonicizations to D major (V), C major (IV), or A minor (ii).
Deceptive Resolution
When a secondary dominant resolves to the vi chord of the secondary key instead of its expected tonic, creating a surprising effect.
Example:
A V/V (D major) resolving to iii (E minor) instead of V (G major) in C major is a deceptive resolution.
First Inversion
A common inversion for secondary dominants, used to create a chromatic bassline.
Example:
A D major chord in first inversion (D/F#) is often used as V/V to create a F#-G bassline.
Incomplete I
A root position I chord in the secondary key where the root is tripled and only one third is used, permissible after a complete V or V7.
Example:
After a G7 chord, an incomplete I chord (C-C-C-E) might be used to avoid parallel fifths.
Irregular Resolution
When a secondary dominant resolves to a substitute of its tonic chord (e.g., V/IV-ii6 or vii/V-I6/4).
Example:
A V/IV (G major) resolving to ii6 (D minor in first inversion) instead of IV (F major) is an irregular resolution.
Leading Tone
The third of a secondary dominant chord, which must resolve upwards by step to the root of the temporary tonic.
Example:
In a D major chord (V/V in C), the F# is the leading tone and must resolve up to G.
Leading Tone Relationship
An accidental resolving upwards by step, creating a strong pull towards a temporary tonic.
Example:
The F# in a D major chord (V/V in C major) creates a leading tone relationship to G, the temporary tonic.
Perfect Authentic Cadence (PAC)
The strongest type of cadence, consisting of a V-I progression where both chords are in root position and the soprano ends on the tonic.
Example:
A strong G7-C progression in C major, with the soprano ending on C, forms a perfect authentic cadence.
Prefixes
Harmonic extensions that occur before a cadence, using chromatic alterations to lead into the home key cadence.
Example:
A V/V-V progression immediately preceding a V-I cadence can serve as a prefix, building anticipation.
Regular Resolution
When a secondary dominant resolves directly to its expected tonic chord in the secondary key (e.g., V/V-V).
Example:
A D major chord resolving to G major in C major demonstrates regular resolution of V/V.
Secondary Dominants
Dominant chords (V or vii°) that tonicize a non-tonic chord in the primary key.
Example:
A D major chord in C major, resolving to G major, is a secondary dominant (specifically V/V).
Secondary Key
The key that is being temporarily emphasized or visited during a tonicization.
Example:
When a piece in C major briefly highlights G major, G major is the secondary key.
Suffixes
Harmonic extensions that occur after resolving to the dominant, often involving tonicizing other chords to prolong a section.
Example:
After a V-I cadence, a brief V/IV-IV progression could act as a suffix to extend the harmonic motion.
Temporary Tonic
The tonic of the secondary key, which is briefly treated as a stable harmonic center.
Example:
In a passage in C major that tonicizes G major, the G major chord functions as the temporary tonic.
Tonicization
Briefly emphasizing a non-tonic chord as a temporary tonic within a piece.
Example:
In a piece in C major, a sudden D7-G progression might indicate a tonicization of G major.
V/IV
The dominant of the subdominant, a secondary dominant that resolves to the IV chord.
Example:
In C major, a G major chord (often with a C# accidental) can function as the V/IV, resolving to F major.
V/V
The dominant of the dominant, the most common type of secondary dominant.
Example:
In the key of C major, the D major chord is the V/V, leading to G major.
V/ii
The dominant of the supertonic, a secondary dominant that resolves to the ii chord.
Example:
In C major, an A major chord is the V/ii, resolving to D minor.