Part Writing of Secondary Dominant Chords

AP Music Theory: Secondary Dominants - Your Last-Minute Guide 🚀

Hey there, future music maestro! Let's solidify your understanding of secondary dominants. This guide is designed to be your go-to resource for a confident exam day. We'll break down the concepts, give you some memory aids, and get you ready to ace those questions! Let's dive in!

Tonicization and Secondary Dominants: The Core Concepts

Okay, let's get the basics down. Tonicization is like a mini-vacation to another key, just for a few chords. The key we're visiting is the secondary key, and its tonic is the temporary tonic. Think of it as borrowing some spice from a neighboring kitchen. 🌶️

• Tonicization: Briefly emphasizing a non-tonic chord as a temporary tonic.
• Secondary Key: The key that is being tonicized.
• Temporary Tonic: The tonic of the secondary key.

How to Spot Tonicization

Look for those accidentals! Specifically, watch out for notes that are not part of the main key that resolve upwards by step. This is a leading tone relationship, and it's a big clue you're in a tonicization. 💡

• Leading Tone Relationship: An accidental resolving upwards by step, often indicating a temporary tonic.
• Accidentals: Notes not in the main key that often signal a tonicization.

Identifying Secondary Dominants

The chord leading into the temporary tonic is usually a dominant chord (V or vii°). These are called secondary dominants. They make the temporary tonic sound like a true tonic because of the leading tone's strong pull. Think of them as signposts pointing to the temporary tonic. ➡️

• Secondary Dominants: Dominant chords that tonicize a non-tonic chord.
• V/V: The most common secondary dominant, the dominant of the dominant.

Common Tonicizations

It's most common to tonicize the dominant (V), subdominant (IV), or supertonic (ii) of the primary key. For example, in A major, you might see tonicizations to E major (V), D major (IV), or B minor (ii). If you see II chords popping up in a piece in A major, consider that you might be looking at a tonicization.

• Common Tonicizations: Usually to V, IV, or ii of the primary key.

Secondary Dominants in Action

The Role of Secondary Dominants

Secondary dominants make the temporary tonic sound like a true tonic. This is because the leading tone in these chords has a strong pull towards the temporary tonic. The most common secondary dominant is the V/V (dominant of the dominant). For example, in C major, the V/V is D major, which temporarily tonicizes G major before resolving back to C major.

• V/V: Dominant of the dominant; e.g., in C major, D major is the V/V.

Secondary dominants can also tonicize other chords, like the ii (V/ii) or the IV (V/IV). For example, in C major, the V/ii is A major, which resolves to D minor. The V/IV is G major, which resolves to F major. Sometimes, the V/IV can look like a regular I-IV progression, so look for extra accidentals or a more frequent use of the subdominant tone to know if it's a tonicization.

• V/ii: Dominant of the supertonic; e.g., in C major, A major is the V/ii.
• V/IV: Dominant of the subdominant; e.g., in C major, G major is the V/IV.

Cadential Extension

Cadential extensions are like adding extra flair to a cadence. They can be suffixes (after the cadence) or prefixes (before the cadence). Suffixes often involve tonicizing other chords to prolong the section, while prefixes lead to a cadence in the home key. Both use chromatic alterations to ensure the secondary dominant is a major triad or major-minor seventh chord.

• Suffixes: Harmonic extensions after resolving to the dominant, tonicizing other chords.
• Prefixes: Extensions before the cadence, also using chromatic alterations.

Part Writing Secondary Dominants

Voice Leading Rules

When writing secondary dominants, follow the same voice leading rules as a V-I cadence. The leading tone (third of the secondary dominant) should always resolve up by step. Secondary dominant chords are often in first inversion to create a chromatic bassline (4-#4-5). If you see this #4-5 progression in the bass, it's likely a V/V-V progression. 🎶

• Leading Tone: Resolve up by step.
• First Inversion: Common for secondary dominants to create a chromatic bassline.
• Chromatic Bassline: The 4-#4-5 bassline is a telltale sign of V/V-V.

Incomplete Chords

When moving from a complete V or V7 in the secondary key, it's okay to write an incomplete I chord in the secondary key, if the I chord is in root position. In this case, triple the root and only use one third to avoid parallel issues. Remember, this is only if the I chord is in root position.

• Incomplete I: Okay if the I chord is in root position; triple the root and use one third.

Cadences in Secondary Keys

You can write perfect authentic cadences (PACs) or other cadences in secondary keys. The goal is to make the temporary tonic sound like a true tonic. PACs are especially strong and often used for modulations. Remember the rules for PACs:

1. V chord as the dominant.
2. Both chords in root position.
3. Soprano ends on the tonic.
4. Soprano moves by step.

• Perfect Authentic Cadence (PAC): Strongest cadence, often used for modulations.

Regular, Irregular, and Deceptive Resolution

Regular Resolution

Regular resolution happens when a secondary dominant resolves to the tonic of the secondary key (e.g., V/V-V). A perfect authentic cadence in the secondary key makes the new tonic sound very strong. Remember that the leading tone of the secondary key should be in the soprano voice when writing a PAC.

• Regular Resolution: Secondary dominant resolves to its tonic (e.g., V/V-V).

Irregular Resolution

Irregular resolution occurs when the secondary dominant resolves to a substitute of the tonic chord (e.g., V/IV-ii6 or vii/V-I6/4). These work because ii6 is a substitute for IV, and I6/4 is a substitute for V. These are common and effective ways to create interesting harmonic movement.

• Irregular Resolution: Secondary dominant resolves to a substitute of its tonic (e.g., V/IV-ii6).

Deceptive Resolution

Deceptive resolution involves moving from the V of the secondary key to the vi of the secondary key (e.g., V6/5/V to iii). This creates a sense of surprise and harmonic interest. It's like a musical plot twist! 🎭

• Deceptive Resolution: Secondary dominant resolves to the vi of the secondary key (e.g., V6/5/V-iii).

Final Exam Focus

Okay, here's the final rundown. These are the things you absolutely need to know for the exam:

• Identifying Tonicizations: Look for accidentals and leading tone relationships.
• Secondary Dominants: Know V/V, V/ii, and V/IV and how they function.
• Voice Leading: Resolve leading tones up by step and avoid parallel fifths and octaves.
• Cadential Extensions: Understand suffixes and prefixes and their harmonic implications.
• Regular, Irregular, and Deceptive Resolutions: Know how these resolutions function and what they sound like.

Time Management Tips

• Scan First: Quickly scan the questions to identify the easiest ones to tackle first.
• Pace Yourself: Don't spend too much time on one question. If you're stuck, move on and come back later.
• Show Your Work: Even if you're not sure of the answer, show your thought process. You might get partial credit.

Practice Questions

Practice Question

Multiple Choice Questions

1. In the key of F major, which chord is the V/ii? a) C major b) G major c) D minor d) A major

2. Which of the following is NOT a common tonicization? a) V/V b) V/IV c) V/vi d) V/ii

3. What is the most important voice leading rule for secondary dominants? a) Resolve the root up by step b) Resolve the third up by step c) Resolve the fifth down by step d) Keep all voices in the same register

Free Response Question

Given the following four-part harmony excerpt in C major, analyze the chords using Roman numerals and identify any secondary dominants. Provide a brief explanation of any cadential extensions and resolutions.

(Music excerpt with chords: C - G7 - Am - Dm - G7 - C - A7 - Dm - G7 - C)

Answer Key and Scoring Breakdown

• Multiple Choice Answers:

  1. (d) A major
  2. (c) V/vi
  3. (b) Resolve the third up by step

• Free Response Scoring:

  • Chord Analysis (4 points):

    • C: I (1 point)
    • G7: V7 (1 point)
    • Am: vi (1 point)
    • Dm: ii (1 point)
    • A7: V7/ii (1 point)

  • Cadential Extension (2 points):

    • The progression includes a cadential extension with the A7 chord acting as a V7/ii, which resolves to the ii chord (Dm) (2 points)

  • Resolution (2 points):

    • The V7/ii resolves regularly to the ii chord (Dm) (2 points)

  • Total: 8 points

Okay, you've got this! You're armed with the knowledge and strategies to tackle those secondary dominants. Go into that exam with confidence and show them what you've learned! You're going to do great! 🎉