Secondary Function

F major

G major

A minor

D minor

A passage in C major that remains entirely in C major.

A passage in C major that briefly uses chords from G major before returning to C major.

A passage that starts in C major and ends in G major.

A passage that uses only minor chords.

Relative Key

Parallel Key

Dominant Key

Subdominant Key

It shows keys with the same number of sharps and flats.

It visually represents keys that are a tritone apart.

It illustrates keys that are next to each other are closely related, typically one accidental away.

It organizes keys by their modes (major and minor).

Tonicization only occurs in distantly related keys to create musical contrast.

Tonicization is most effective when applied to unrelated keys.

Tonicization typically involves closely related keys to ensure smooth and natural transitions.

Tonicization avoids closely related keys to maintain the integrity of the original key.

G major, C major, B minor

G major, A major, B minor

A major, E major, C# minor

G major, A major, E minor

C major

F# minor

G major

D minor

A minor; tonicizes the relative minor.

D major; temporarily tonicizes G major.

F major; tonicizes the subdominant.

G major; reinforces the tonic.

A permanent change of key in a musical piece.

A brief emphasis on a non-tonic chord, making it sound like a temporary tonic.

The process of returning to the original key after a modulation.

A type of cadence that uses only diatonic chords.

They always indicate a modulation to a new key.

They introduce chromaticism that obscures the underlying harmony.

They often signal the presence of chords borrowed from closely related keys, especially leading tones.

They serve only to add melodic interest without affecting the harmony.