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

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?

{
  "mcq": [
    {
      "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"
    }
  ],
  "frq": {
    "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.

{
  "mcq": [
    {
      "question": "When part-writing a secondary dominant chord, which inversion is most common?",
      "options": ["Root position", "First inversion", "Second inversion", "Third inversion"],
      "answer": "First inversion"
    },
    {
      "question": "Which of the following bass lines is most characteristic of a secondary dominant progression?",
      "options": ["1-2-3", "5-4-3", "4-#4-5", "5-6-7"],
      "answer": "4-#4-5"
    },
   {
      "question": "In a V6/V chord, what scale degree is typically found in the bass?",
      "options": ["Scale degree 1", "Scale degree 2", "Scale degree 4", "Scale degree 7"],
      "answer": "Scale degree 4"
    }
  ],
  "frq": {
    "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.

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.

{
  "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! 🚀