1. Chapter 16
Secondary Functions 1

2. Chromaticism
Refers to the use of pitches foreign to the key of the passage.
Altered Chords: the use of tones from outside the scale as members of chords.
Most Common altered chord is the: “Secondary Function”
Secondary Dominant- V
Secondary Leading Tone- viio

3. Spelling Secondary Dominants
3 Simple Steps:
Find the root of the chord that is to be “tonicized”
Go up a P5
Using that note as the root, spell a major triad (for V of) or a major-minor seventh chord (for V7 of)

4. How to Recognize Secondary Dominants
#1. Is the altered chord a major triad or major-minor seventh chord? If not, than it is not a secondary dominant
#2. Find the note a P5 below the root of the altered chord
#3. Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is a secondary dominant.

5. Secondary Dominant Part Writing
7th of the V7 Resolves down by step
Leading tone (or 3rd of the secondary dominant chord) resolves up by step.
Keep the Common Tone
Remaining voice moves by step contrary to the bass

6. Spelling Secondary Leading-Tone Chords
Find the Root of the chord to be “tonicized”
Go Down a minor 2nd
Using that note as the root, spell a diminished triad (for viio of), a diminished 7th chord (viio7 of), or a half-diminished seventh chord (for vii O/7 of)

7. Recognizing Secondary Leading-Tone Chords
Is the chord a diminished triad, a diminished seventh, or a half-diminished seventh chord? If not, it is not a secondary leading-tone chord.
Find the note a m2 above the root of the altered chord
Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is probably a secondary leading-tone chord.

8. Secondary Leading-Tone Part Writing
Do not double the root of the vii chord
Make sure the vii chord is not in root position
Leading Tone (root of the 7th chord) resolves up by step
7th of the viio7 chord resolves down
Remaining two voices should use smooth voice leading when possible

9. Secondary Leading-Tone Special Considerations
Should the resulting chord be a fully diminished seven chord or a half-diminished vii chord chord?
Follow these principles:
If the triad you are resolving to is minor, use vii fully diminished 7
If the triad you are resolving to is major, use either vii half-diminished 7 or vii fully diminished 7, although the fully diminished version appears to be used more often in music.