Glossary
Accidentals (in context of tonicization)
Sharps, flats, or naturals that appear in a piece but do not belong to the main key signature, often serving as clues for a tonicization.
Example:
Seeing an F# in a piece otherwise in C major is a strong clue that accidentals are indicating a tonicization to G major.
Common Tonicizations
The most frequent keys to which a primary key will tonicize, typically the dominant (V), subdominant (IV), or supertonic (ii).
Example:
In a piece in D major, you'd most often see common tonicizations to A major (V), G major (IV), or E minor (ii).
Deceptive Cadence (V-vi)
A cadence where a dominant chord (V) resolves unexpectedly to the submediant chord (vi) instead of the tonic (I), creating a sense of surprise or continuation.
Example:
In G major, a D7 chord resolving to E minor instead of G major forms a deceptive cadence.
Dominant Function (in context of tonicization)
The role of a V or vii° chord of the secondary key, which strongly pulls towards and establishes the temporary tonic.
Example:
A G7 chord (V7) leading to C major demonstrates strong dominant function, even if C is only a temporary tonic.
Leading Tone Relationship (in context of tonicization)
The presence of a temporary leading tone (an accidental not in the main key) that resolves upward by step to the temporary tonic, indicating a tonicization.
Example:
In C major, if you see a D# resolving to E, this leading tone relationship suggests a tonicization to E minor.
Secondary Dominants
Altered dominant chords (V or V7) that function to tonicize a chord other than the primary tonic, creating a temporary dominant-tonic relationship.
Example:
A D7 chord in C major is a secondary dominant (V7/V), leading to G major.
Secondary Key
The temporary key that a piece briefly shifts to during a tonicization.
Example:
When a piece in C major briefly moves to G major, G major is the secondary key.
Secondary Leading Tone Chords (vii°)
Diminished or half-diminished chords that function as the leading-tone chord (vii°) of a temporary tonic, adding harmonic tension and color.
Example:
In C major, an F#-A-C-Eb chord is a secondary leading tone chord (vii°7/V), leading to G.
Temporary Tonic
The tonic of the secondary key, which acts as a brief, temporary home base during tonicization.
Example:
If a piece in C major briefly tonicizes G major, G is the temporary tonic.
Tonicization
A brief, temporary shift to a different key within a piece, creating a new tonal center before returning to the original key.
Example:
In a piece in C major, a sudden progression to G major chords might indicate a tonicization of the dominant.
Tonicizing Deceptive Motion
A harmonic progression where a deceptive cadence (V-vi) is immediately followed by a tonicization of the vi chord, creating a surprising yet satisfying resolution.
Example:
After a V-vi cadence in C major, a sudden vii°/vi chord (A#-C#-E-G) leading to A minor demonstrates tonicizing deceptive motion.
Voice Leading Rules (for secondary leading tone chords)
Specific guidelines for how individual melodic lines (voices) should move when writing or analyzing secondary leading tone chords, ensuring smooth and correct harmonic progression.
Example:
When writing a secondary leading tone chord, remember that the leading tone must resolve up by step to the temporary tonic.
vii°⁷ (fully diminished)
A diminished seventh chord built on the leading tone of a temporary tonic, containing a diminished triad and a diminished seventh above the root.
Example:
A G#-B-D-F chord is a vii°⁷ of A minor, creating a strong pull to A.
viiø⁷ (half-diminished)
A half-diminished seventh chord built on the leading tone of a temporary tonic, containing a diminished triad and a minor seventh above the root.
Example:
A B-D-F-A chord is a viiø⁷ of C major, often found in major keys.