1. AP Music Theory Mr. Silvagni
Secondary Chords
AP Music Theory
Mr. Silvagni

2. Dominant Function V and viio chords have a strong pull to tonic
Fa to Mi and Ti to Do are tendency tones resolving
The tendencies are so strong that you can borrow this dominant/tonic motion from other keys

3. Secondary Motion
Secondary motions are V – I or viio – I motions borrowed from another key
They are usually examples of temporary tonicization, but can be pivot points of modulations

4. Secondary Chords
Secondary dominant: A V or V7 chord borrowed from another key
Secondary leading tone: A viio, viiø7, or viio7 chord borrowed from another key
You can borrow from any scale degree that has a key (cannot borrow from viio or iio because they’re not related to a major or minor key)

5. Secondary Dominants Secondary Dominants in G Major V/ii – E Major
V/iii – F# Major
V7/IV – G7 (V/IV = I)
V/V – A Major
V/vi – B Major

6. Secondary Dominants Secondary Dominants in D Minor V/III – C Major
V7/iv – D7 Major (V/iv = i)
V/v – E Major
V/V – E Major
V/VI – F# Major
V/VII – G Major

7. Secondary Leading Tones
Secondary Leading Tone chords in A Major
viio7/ii – A#o7
viio7/iii – B#o7
viiø7/IV – C#ø7
viio7/V – D#o7
viiø7/vi – E#ø7

8. Secondary Leading Tones
Secondary Leading Tone chords in Bb Minor
viiø7/III – C#o7
viio7/iv – Do7
viio7/v – Eø7
viiø7/V – Eo7
viiø7/VI – F#ø7
viiø7/VII – Gø7

9. Spotting Secondary Chords
Most of the time, secondary chords have written accidentals
The most common secondary chord, V/V, uses a raised 4 accidental (Fi)
One of the melodic dictations will have Fi
One of the harmonic dictations will have a V/V chord (Fi in soprano or bass)
One of the sight singing examples will have Fi
The writing a bass line may include Fi…which means you must write a secondary chord