1. Chapter 19 Notes Intensifying the Dominant
Secondary Dominants and Secondary Leading-Tone Chords; New Voice-Leading Chords

2. Key Concept - page 352
The V7/V (read “V7 of V”) acts as a temporary dominant to the V chord that follows. Triads may also serve as secondary dominants (V/V).
C: V/V V I

3. Key Concept - page 353
All V7/V (or V/V) chords are spelled by chromatically altering a pitch. The alteration is always #4 of the primary key, which functions as the leading tone in the temporary key of V.
C: V/V V I

4. Key Concept - page 353
When you spell a secondary dominant to V, double-check that
the chord is build on 2
the triad quality is major (with #4; in minor, you also need to raise 6)
the chordal seventh (if present) is minor.
C: V/V V I

5. Key Concept - page 359
When you write and resolve a V7/V in common-practice style, be sure you
avoid doubling the #4 (because of its leading-tone function)
resolve the temporary leading tone (#4 resolves up to 5)
resolve the chordal seventh down (1 resolves down to 7).
C: V/V V I

6. Key Concept - page 359 Resolving root-position chords:
When moving from a V/V to a V, both chords are complete and resolve normally (remember leading-tone!).
If you resolve a complete root-position V7/V to a root position V, the chord of resolution will be incomplete (with three roots and a third) if you resolve all of the tendency tones correctly.
If you want to resolve a root-position V7/V (missing its fifth; example 19.7c); alternatively,
the temporary leading tone may skip instead to the fifth of the next chord to fill out a complete dominant chord (example 19.7d). The note to which the leading tone should resolve is usually in another voice, as shown by the dotted arrow in this example.
The V chord to which the secondary dominant resolves may be embellished by a cadential 64 (example 19.7e).

7. Key Concept - page 359 Resolving root-position chords:
When moving from a V/V to a V, both chords are complete and resolve normally (remember leading-tone!).
C C 7
A: V/V V
C C 7
a: V/V V

8. Key Concept - page 359 Resolving root-position chords:
2. If you resolve a complete root-position V7/V to a root position V, the chord of resolution will be incomplete (with three roots and a third) if you resolve all of the tendency tones correctly.
C INC LT 7
A: V7/V V
C INC LT 7
a: V7/V V

9. Key Concept - page 359 Resolving root-position chords:
If you want to resolve a root-position V7/V to a complete chord, then use an incomplete V7/V (missing its fifth; example 19.7c); alternatively,
INC C LT 7
A: V7/V V
INC C LT 7
a: V7/V V

10. Key Concept - page 359 Resolving root-position triads:
4. the temporary leading tone may skip instead to the fifth of the next chord to fill out a complete dominant chord (example 19.7d). The note to which the leading tone should resolve is usually in another voice, as shown by the dotted arrow in this example.
C C LT 7
A: V7/V V
C C LT 7
a: V7/V V

11. Key Concept - page 359 Resolving root-position chords:
candential 64
Resolving root-position chords:
5. The V chord to which the secondary dominant resolves may be embellished by a cadential 64 (example 19.7e). LT 7
A: V7/V V
candential 64 LT 7
a: V7/V V

12. Key Concept - page 360
The sudden introduction of #4 in one voice right after the diatonic 4 sounds in another voice is called a cross relation (Example 19.8a), a technique generally avoided in common-practice music. When you write secondary dominants that are prepared by their diatonic counterparts, keep the diatonic pitch in the same voice as the chromatically altered pitch (Example 19.8b): 4-#4-5.

13. Key Concept - page 360 Examples
The sudden introduction of #4 in one voice right after the diatonic 4 sounds in another voice is called a cross relation (Example 19.8a), a technique generally avoided in common-practice music. When you write secondary dominants that are prepared by their diatonic counterparts, keep the diatonic pitch in the same voice as the chromatically altered pitch (Example 19.8b): 4-#4-5.
(a) Cross relation - avoid (b) 4-#4-5 in same voice (c) Chromatic voice exchange (d) Leap to #4 in bass
A: ii V7/V V ii V7/V V ii6 V7/V V ii V65/V V

14. Key Concept - page 361
We may use vii/V, vii7/V, or vii7 as secondary leading-tone chords to V. The diminished triad and fully diminished seventh chord are the most common choices, because these qualities are associated with leading-tone function. The half-diminished quality is possible as well, but only if the temporary tonic is a major chord.

15. Key Concept - page 362 When you resolve a secondary leading-tone to V:
Resolve #4 up to 5.
Resolve the chord seventh (3 or lowered 3) down to 2.
Avoid parallel fifths and d5 to P5 unless you can place then in the inner voices (Examples 19.9a and e), but you may write A4 to P4.
Be sure not to double the third in the chord of resolution (V)-that’s the leading tone in primary key!

16. Key Concept - page 362 Examples
When you resolve a secondary leading-tone to V:
Resolve #4 up to 5.
Resolve the chord seventh (3 or lowered 3) down to 2.
Avoid parallel fifths and d5 to P5 unless you can place then in the inner voices (Examples 19.9a and e), but you may write A4 to P4.
Be sure not to double the third in the chord of resolution (V)-that’s the leading tone in primary key! 10 10 LT 7 7 LT LT LT
F: vii/V V vii6/V V vii7/V V vii7/V V 10 10 LT 7 LT LT
f: vii/V V vii6/V V vii7/V V

17. Passing 42 Chords Same idea as other passing chords but it is a x42.
E: I I IV6
(P)
E: i i iv6
(P)

18. Neighboring 42 Chords
Again, same as the neighboring chords, but it is a 42 in passing.
G: I ii I
(N42) I
G: i ii i
(N42) i