#AP Music Theory: Tonicization Study Guide 🎶

Hey there, future music maestro! Let's get you prepped for the AP Music Theory exam with this super-charged study guide. We'll break down tonicization, secondary dominants, and secondary leading tones in a way that's both easy to understand and totally memorable. Let's do this!

#7.1: Tonicization through Secondary Dominant Chords

#What is Tonicization?

• Tonicization is when a chord other than the tonic is treated as a temporary tonic. It's like a brief visit to another key, but without fully moving there (that's modulation!).
• Think of it like this: you're at home (your main key), then you visit a friend's house for a little while (a secondary key), and then you come back home.
• Secondary Dominant: A dominant chord that is not the dominant of the main key, but the dominant of the temporary key.

#Identifying Secondary Dominants

- Look for **accidentals**! They're your best clue that tonicization is happening. 💡 - Common tonicizations are to the **dominant (V), subdominant (IV), or supertonic (ii)** of the primary key. - In A major, tonicizing to the dominant (E major) would use B major as the secondary dominant (V/V). - If you see a II chord in A major, it might actually be a V/V chord.

#Notation

• Chords in the secondary key are notated in relation to that secondary key. So, a B major chord in the key of A major is written as V/V, not II.

#Example: Beethoven's Piano Sonata No. 10

Measure 17 Analysis: - Beat 1: V⁷ - Beat 2: I - Beat 3: V⁷/ii (A-C#-E-G, resolving to D minor) - Beat 4: ii

• Notice how the V⁷/ii creates a more logical progression than just a VI⁷ chord. 🎼

Measure 18 Analysis: - Beat 1: V⁷/iii (B-D#-F#-A, resolving to E minor) - Beat 2: iii

#How to Spot Secondary Dominants

1. Accidentals: Are there any accidentals? If yes, you might be in a secondary key.
2. Chord Function: Does a chord resolve down a fifth or up a step? This is a classic sign of a secondary dominant.
3. Harmonic Context: Does the chord progression make sense in the secondary key? Look for common progressions.
4. Cadences: Where does the chord fall in the phrase? Is it leading to a cadence?

Practice Question

Question: In the key of C major, which of the following chords is most likely to function as a secondary dominant? Options: A minor, D minor, G major, B diminished Answer: D minor

Question: In a piece in F major, a C7 chord is most likely functioning as: Options: V7/IV, V7/V, V7/ii, V7/vi Answer: V7/IV

Question: Which of the following is NOT a common chord to tonicize? Options: V, IV, ii, vii Answer: vii

Question: Analyze the following four-part harmonization in G major, identifying all secondary dominant chords. Provide Roman numeral analysis for each chord, including inversions. Indicate the key being tonicized by each secondary dominant. Music Example: (Imagine a four-part harmonization here with the following chords: G major, A minor, D7, G major, C major, D7/V, G major, A minor, D7, G major) Scoring Breakdown: Points: 5 Details:

• 1 point for correctly identifying each of the secondary dominant chords (D7/V).
• 1 point for correctly identifying the key being tonicized by each secondary dominant (G major).
• 1 point for correctly identifying the inversions of all chords.
• 1 point for correctly analyzing all other chords.
• 1 point for providing a complete and accurate roman numeral analysis.

#7.2: Part Writing of Secondary Dominant Chords

#General Rules

• Follow the same voice-leading and doubling rules as any other chord progression. 📝
• Secondary dominant chords are often in 1st inversion to put the #4 in the bass. This creates a chromatic bassline and sounds cool!
• A common progression is IV-V⁶₅/V-V, creating a bassline of 4-#4-5. - If you see the #4-5 progression in the bass, it's likely a V/V-V progression.

#Exception to Voice-Leading

• Temporary leading tones can resolve down to become the seventh of the next chord, instead of always resolving up.

#Inserting Secondary Dominants

• You can insert a secondary dominant before any chord in a progression.
• Example: I-iii-vi-ii-V-I can become I-iii-V/vi-vi-ii-V-I.
• You can also chain them: I-iii-V/vi-V/ii-V/V-V-I.

#Example: 2018 AP Exam Question

• In G major, the ii chord is A minor. The dominant of A minor is E major. So, V⁶₅/ii is E-G#-B-D#, with G# in the bass.

• Notice the chromatic bassline: G-G#-A.

Practice Question

#Multiple Choice Questions

#Question 1

When part-writing a secondary dominant chord, which inversion is most common?

• Root position
• First inversion
• Second inversion
• Third inversion Answer: First inversion

#Question 2

Which of the following bass lines is most characteristic of a secondary dominant progression?

• 1-2-3
• 5-4-3
• 4-#4-5
• 5-6-7 Answer: 4-#4-5

#Question 3

In a V6/V chord, what scale degree is typically found in the bass?

• Scale degree 1
• Scale degree 2
• Scale degree 4
• Scale degree 7 Answer: Scale degree 4

#Free Response Question

#Question

Part-write the following progression in four voices, using correct voice leading and doubling rules. Include all necessary accidentals and inversions: I - V6/V - V - I in the key of D major.

#Music Example

(Imagine a four-part harmonization here with the specified chords)

#Scoring Breakdown

Points: 5 Details:

• 1 point for correctly writing the I chord in root position.
• 1 point for correctly writing the V6/V chord in first inversion with all correct accidentals.
• 1 point for correctly resolving the V6/V to the V chord using voice leading rules.
• 1 point for correctly writing the V chord in root position.
• 1 point for correctly resolving the V to the I chord using voice leading rules.

#7.3: Tonicization through Secondary Leading Tone Chords

#Secondary Leading Tone Chords

• The vii° chord has a dominant function, just like the V chord. It creates a cadence when resolved to I.
• Secondary leading-tone chords are useful during tonicization, usually as seventh chords (vii°⁷ and viiø⁷).
• In major keys, use both vii°⁷ and viiø⁷. In minor keys, use only vii°⁷.
• Fully diminished seventh chords (vii°⁷) are more common. 💯

#Example: Secondary Leading Tone Chords in B Major

• Tonicizing to IV (E major) in B major:
  • vii°/IV: D#-F#-A♮
  • vii°⁷/IV: D#-F#-A♮-C♮
  • viiø⁷/IV: D#-F#-A♮-C#

#How to Spot Secondary Leading-Tone Chords

1. Accidentals: Look for accidentals. They usually indicate a secondary chord.
2. Diminished/Half-Diminished: If you see a diminished or half-diminished chord with accidentals, it's likely a secondary leading-tone chord.
3. Exam Tip

College Board only tests on secondary dominants and secondary leading-tone chords.

4. V chords are usually major, so if it's diminished or half-diminished, it's a secondary leading-tone chord.

#Example: Brahms' Intermezzo, Op. 119 No. 3

• Measure 1: V⁷ - I⁶₄

• Measure 2:

  • Beat 1: iiø⁶₅ (F-Ab-D-C)
  • Beat 2: vii°⁷/V (F#-A-C-E)

• Measure 3: V⁷ - I⁶₄

• The vii°⁷/V resolves to V⁷.

Practice Question

MCQ

Question: Which chord is most likely to function as a secondary leading-tone chord? Options: Major triad, Minor triad, Diminished triad, Augmented triad Answer: Diminished triad

Question: In a minor key, which secondary leading tone chord is typically used? Options: viiø7, vii°7, Both viiø7 and vii°7, Neither viiø7 nor vii°7 Answer: vii°7

Question: A vii°7/V chord in C major would be built on which note? Options: D, E, F#, G Answer: F#

FRQ

Question: Analyze the following four-part harmonization in A minor, identifying all secondary leading-tone chords. Provide Roman numeral analysis for each chord, including inversions. Indicate the key being tonicized by each secondary leading tone. Music Example: (Imagine a four-part harmonization here with the following chords: A minor, E major, A minor, F#dim7/V, E major, A minor, D minor, E7, A minor) Scoring Breakdown: Points: 5 Details:

• 1 point for correctly identifying each of the secondary leading-tone chords (F#dim7/V).
• 1 point for correctly identifying the key being tonicized by each secondary leading-tone (E major).
• 1 point for correctly identifying the inversions of all chords.
• 1 point for correctly analyzing all other chords.
• 1 point for providing a complete and accurate roman numeral analysis.

#7.4: Part-Writing of Secondary Leading Tone Chords

#General Rules

• Follow all voice-leading rules you've learned. 🤓
• Keep in mind the temporary leading tone, chordal seventh, and tonic.
• The chordal seventh is the 4th scale degree in the temporary key.

#Extra Considerations

• You can't have a half-diminished 7th chord in minor keys when tonicizing because we raise the leading tone.
• In minor keys, don't use vii°/III or viiø⁷/III because they sound the same as ii° and iiø⁷. Also, avoid viiø⁷/V.

#Final Exam Focus 🎯

#High-Priority Topics

• Identifying Secondary Dominants and Leading Tones: Recognize them by accidentals and function.
• Part-Writing: Master voice-leading rules, especially with inversions and temporary leading tones.
• Chord Progressions: Understand how secondary chords fit into common progressions.
• Harmonic Context: Always consider the musical context and function of chords.

#Common Question Types

• Multiple Choice: Identifying secondary chords, their function, and correct notation.
• Free Response: Part-writing with secondary dominants and leading tones, analyzing chord progressions.

#Last-Minute Tips

• Time Management: Don't spend too long on one question. Move on and come back if needed.
• Common Pitfalls: Watch out for incorrect voice leading, especially with temporary leading tones and chordal sevenths.
• Strategies: Start with what you know, and use process of elimination for multiple-choice questions.

#Memory Aids

• Accidentals = Tonicization: If you see accidentals, think secondary chords.
• #4-5 Bassline: This often indicates a V/V-V progression.
• Diminished = Leading Tone: Diminished chords with accidentals are likely secondary leading-tone chords.

You've got this! Go ace that exam! 🚀