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.

Modulation

Transposition

Tonicization

Inversion

A subdominant (IV) chord resolving to the tonic (I).

A dominant (V) or leading-tone (vii°) chord resolving to a temporary tonic.

A plagal cadence (IV-I).

A series of parallel first inversion 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

vii°⁷/vi

viiø⁷/ii

vii°⁷/IV

viiø⁷/iii

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.

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.

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.

The perfect fifth.

The major third.

The tritone between the leading tone and the chordal seventh.

The minor second.