Secondary Function

The presence of a perfect authentic cadence.

The use of only diatonic chords.

The presence of accidentals that do not belong to the main key.

The absence of seventh chords.

A secondary dominant chord of V

A secondary leading tone chord resolving to the dominant

A secondary supertonic chord of V

A secondary subdominant chord of V

Secondary dominants always resolve to the tonic.

Secondary leading tone chords are always major.

Secondary dominants are typically major or dominant seventh chords, while secondary leading tone chords are diminished or half-diminished.

Secondary leading tone chords always appear in root position.

The perfect fifth.

The major third.

The tritone between the leading tone and the chordal seventh.

The minor second.

To create a stronger authentic cadence.

To tonicize the submediant chord after a V-vi progression.

To resolve directly to the tonic.

To create a plagal cadence.

A modulation to the relative major.

A Picardy third.

A smooth, conclusive tonicization of the submediant.

An abrupt change in dynamics.

vii°⁷/vi

viiø⁷/ii

vii°⁷/IV

viiø⁷/iii

Always double the third of the chord.

Resolve the leading tone upwards by a half step.

Keep all voices in close position.

Always use root position vii°⁷ chords.

vii°/ii

vii°/V

vii°/IV

vii°/vi

A series of perfect fifths.

A diminished or half-diminished chord with accidentals.

A major chord in root position.

A stepwise melodic line.