{"id":748,"date":"2023-05-24T16:03:54","date_gmt":"2023-05-24T16:03:54","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/secondary-dominants\/"},"modified":"2026-02-03T20:28:58","modified_gmt":"2026-02-03T20:28:58","slug":"secondary-dominants","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/secondary-dominants\/","title":{"raw":"Secondary dominants","rendered":"Secondary dominants"},"content":{"raw":"<div class=\"secondary-dominants\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 31<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>What [pb_glossary id=\"3445\"]secondary dominants[\/pb_glossary] are<\/li>\r\n \t<li>How to spell secondary dominants<\/li>\r\n \t<li>How to identify secondary dominants in musical contexts<\/li>\r\n \t<li>Strategies for listening to secondary dominants, focused on [pb_glossary id=\"2509\"]solfege[\/pb_glossary] tendency tones<\/li>\r\n \t<li>How to connect secondary dominants to their chords of resolution in four voices<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Secondary dominants\"><\/a>Secondary dominants<\/h1>\r\n<p class=\"import-Normal\">Similar to [pb_glossary id=\"345\"]diatonic[\/pb_glossary] chords, [pb_glossary id=\"346\"]chromatic[\/pb_glossary] chords\u2014that is, chords that have one or more notes outside of the tonic key\u2014have specific tonal functions. The most commonly occurring type of chromatic chord is the [pb_glossary id=\"3445\"]secondary dominant[\/pb_glossary], which refers to any chord that temporarily functions as a dominant to a diatonic major or minor chord that is not tonic. Secondary dominants result in a process called [pb_glossary id=\"3447\"]tonicization[\/pb_glossary]. We consider a chord to be \u201ctonicized\u201d when its secondary dominant appears, temporarily destabilizing the tonic key and giving way to a different, albeit momentary, new tonic.<\/p>\r\n<p class=\"import-Normal\"><span>Only major triads and major-minor (MAmi7) seventh chords can function as secondary dominants.<\/span> Both triads and seventh chords used as secondary dominants may be [pb_glossary id=\"2963\"]incomplete[\/pb_glossary], meaning the fifth may be omitted. But even when this happens, the quality is still always either a major triad or a major-minor seventh.<\/p>\r\n\r\n<div class=\"textbox shaded\">\r\n\r\n<strong>Fun Fact<\/strong>: V<sup>7<\/sup>\/III in minor keys is not a chromatic chord; all of its notes fit within the diatonic minor key.\r\n\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n\r\n<strong>Another Fun Fact<\/strong>: Diminished triads cannot be tonicized since tonic chords are never diminished. This means that the leading tone triad (viio) and the supertonic triad (iio) in minor keys cannot be tonicized.\r\n\r\n<\/div>\r\n<h1><a id=\"Secondary dominants in context\"><\/a>Secondary dominants in context<\/h1>\r\n<p class=\"import-Normal\">The following examples show secondary dominants in a variety of music contexts.<\/p>\r\n<p class=\"import-Normal\">In Example 31\u20111, the second-to-last chord is the secondary dominant, in this case tonicizing dominant, G. The secondary dominant has one chromatic note\u2014F[latex]\\sharp[\/latex]\u2014outside of the tonic key of C. <span>Because the chord has a raised third and proceeds immediately to G, we interpret the D chord not as the supertonic triad of C major, but as the dominant of the G chord to which it resolves. Since D is the V chord in the key of G, and G is V in the overall key of C, we call this \u201cV of V,\u201d written in Roman numeral analysis as \u201cV\/V.\u201d<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 31\u20111. Franz Joseph Haydn, Symphony no. 94, mvt. 2, mm. 1\u20138[footnote]<span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/8\/87\/IMSLP360278-PMLP34746-Haydn;_Symphony_94_Corrected.pdf\" target=\"_blank\" rel=\"noopener\">\"Symphony No.94 in G major, Hob.I:94 (Haydn, Joseph)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Feller,_Paul-Gustav\" target=\"_blank\" rel=\"noopener\">Paul-Gustav Feller<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/4.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC 4.0<\/a>. Annotations are mine.<a><\/a><\/span>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image1-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image1-1.png\" width=\"1341\" height=\"498\" alt=\"image of score, annotated with key of c major and last two Roman numerals: five-of-five, five\" class=\"alignnone\" \/><\/a><small><\/small>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.1.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Academy of Ancient Music, conducted by Christopher Hogwood, on <a href=\"https:\/\/open.spotify.com\/track\/1BVOnJ6U2lWjklPwzNTrfP?si=ef2a82de67254fd7\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about <strong>Franz Joseph<\/strong><strong>\u00a0Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId65\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T53 Intro to secondary dominants (7:55)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/VM6wNb89NTo?si=H8vw8_03vQhDlVcA\r\n<p class=\"import-Normal\">This video introduces the concept of secondary dominants and shows its appearance in the second movement from Haydn's Symphony no. 94 (Example 31\u20111).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Now let's take a look at Example 31-2, which is more complex. The tonic key is also C major here, but notice that even in just the first few measures, there are multiple chromatic chords. At first glance, you might think the opening chord is tonic\u2014the root is C, and we have a stack of thirds built on tonic. However, if you take a closer look, you will see the chord is not a tonic triad, but rather a MAmi7 chord (C-E-G-B[latex]\\flat[\/latex]), and it is, in fact, chromatic, since the chordal seventh is B[latex]\\flat[\/latex], not B[latex]\\natural[\/latex]. <span>This makes it a secondary dominant tonicizing the IV chord: V7\/IV.<\/span><\/p>\r\n<p class=\"import-Normal\">In measure 2, we get the true dominant of the key (G7), but it resolves deceptively not to tonic, but rather to the submediant (A minor). Measure 3 presents us with another chromatic chord\u2014recognize its similarity to the secondary dominant in Example 31\u20111? This is V7\/V, now D7 (D-F[latex]\\sharp[\/latex]-A-C) instead of D, tonicizing V (G), which appears in the following measure. What an interesting way to begin a symphony\u2014delaying the appearance of the tonic chord until later.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 31\u20112. Ludwig van Beethoven, Symphony no. 1, mvt. 1, mm. 1\u20134[footnote]<span id=\"output\" class=\"outputbox\"><a href=\"http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/9\/9f\/IMSLP24498-PMLP01582-CCARHBeethovensymphony1.pdf\" target=\"_blank\" rel=\"noopener\">\"Symphony No.1, Op.21 (Beethoven, Ludwig van)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Team,_CCARH\" target=\"_blank\" rel=\"noopener\">CCARH Team<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/3.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC 3.0<\/a>. <a><\/a><\/span>Annotations are mine.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image2-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image2-1.png\" width=\"1217\" height=\"1415\" alt=\"image of score, with annotations showing key of C major, Roman numerals: five-seven-of-four, four, five-seven, six, five-seven-of-five, five\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.2.mp3\"][\/audio]\r\n<p class=\"p1\">Listen to the full track, performed by the Cleveland Symphony Orchestra, conducted by George Szell, on <a href=\"https:\/\/open.spotify.com\/track\/0x2mXHXEY0l0yoN2Wl21lx?si=9da9de59325045f5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId66\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T54 Secondary dominants in Beethoven's Symphony no. 1, mvt. 1 (10:41)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/9iGCYYvXRH4?si=vS_Fi_pcrqqxuLKc\r\n<p class=\"import-Normal\">This video walks you through a harmonic analysis of the first four measures of the first movement of Beethoven's Symphony no. 1 (Example 31\u20112), which interestingly has no tonic chords until later in the movement. This passage features two different secondary dominants, as well as a deceptive resolution of a primary dominant seventh.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Example 31\u20113 uses the V7\/IV in [pb_glossary id=\"1712\"]third inversion[\/pb_glossary], so the chordal seventh (F[latex]\\natural[\/latex]) resolves down by step in the bass, and the [pb_glossary id=\"3480\"]secondary leading tone[\/pb_glossary] (B) resolves up as we would expect it to (to C).<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 31\u20113. Transcription of Lin-Manuel Miranda, \u201cYou\u2019ll Be Back\u201d from <em>Hamilton<\/em>, 0:00\u20130:05<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image3.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image3.png\" width=\"784\" height=\"343\" alt=\"image of three chords written in four parts on the Grand staff in G major: one, five-four-two of four, four-six\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.3.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Jonathan Groff, on <a href=\"https:\/\/open.spotify.com\/track\/6OG1S805gIrH5nAQbEOPY3?si=955ce516af4a4baf\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American composer and lyricist <strong>Lin-Manuel Miranda<\/strong> (b. 1980) by reading this <a class=\"rId67\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000369486\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Elizabeth Craft.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Examples 31-4 through 31-6 tonicize the submediant triad by using the V\/vi or V7\/vi.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 31\u20114. Transcription of Sam Smith, \u201cI\u2019m Not the Only One,\u201d 0:00\u20130:11<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image4-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image4-1.png\" width=\"859\" height=\"410\" alt=\"image of score in F major with chord symbols: F, A, D minor, B-flat major 7. Roman numerals beneath staff: one, five-of-six, six, four-major-seven\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.4.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7795WJLVKJoAyVoOtCWqXN?si=82745e8f00fc4d0f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about English singer and songwriter <strong>Sam Smith<\/strong> (b. 1992) by reading their <a class=\"rId68\" href=\"https:\/\/www.last.fm\/music\/Sam+Smith\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> at last.fm.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 31\u20115. Transcription of Lake Street Dive, \u201cYou Go Down Smooth,\u201d 1:20\u20131:26<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive-1024x222.png\" alt=\"image of score, treble clef, four sharp, with melody notated on the staff. Lead sheet symbols above staff: B augmented, E, G-sharp over D-sharp, G-sharp, C-sharp minor, B, A. Roman numerals beneath staff in E major: five augmented, one, five-six-four of six, five of six, six, five, four.\" width=\"1024\" height=\"222\" class=\"alignnone wp-image-4702 size-large\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.5.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/65EVlEBJkMJCskhQwUUGew?si=383df798c81044b1\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 21st-century American pop\/rock band <strong>Lake Street Dive<\/strong> by reading this <a class=\"rId69\" href=\"https:\/\/en.wikipedia.org\/wiki\/Lake_Street_Dive\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Wikipedia article<\/span><\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 31\u20116. Transcription of Ray LaMontagne, \u201cYou Are the Best Thing,\u201d 0:00\u20130:05<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image6-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image6-1.png\" width=\"942\" height=\"245\" alt=\"image of melody in F major. Chord symbols above staff: (F), B-flat, D7, G minor. Roman numerals beneath staff: five, one, five-seven-of-six, six\" style=\"font-size: 14pt\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.6.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1jyddn36UN4tVsJGtaJfem?si=8c6333cb95544e60\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer-songwriter <strong>Ray LaMontagne<\/strong> (b. 1973) by reading his <a class=\"rId70\" href=\"https:\/\/www.allmusic.com\/artist\/ray-lamontagne-mn0000182302\/biography\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> on allmusic.com, written by Steve Leggett.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nListen to the audio examples featured in this chapter here: <a class=\"rId75\" href=\"https:\/\/open.spotify.com\/playlist\/4esy3W65RiuMWWi1aZuaP6?si=60a72297828c4e88\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for secondary dominants<\/span><\/a>\r\n\r\n<\/div>\r\n<h1><a id=\"Spelling secondary dominants\"><\/a>Spelling secondary dominants<\/h1>\r\n<p class=\"import-Normal\">Follow these steps for success in spelling secondary dominants:<\/p>\r\n<p style=\"padding-left: 40px\"><strong>Step 1.<\/strong> Identify the root of the chord that is to be tonicized.<\/p>\r\n<p style=\"padding-left: 40px\"><strong>Step 2.<\/strong> For a moment, disregard the tonic key.<\/p>\r\n<p style=\"padding-left: 40px\"><strong>Step 3.<\/strong> Identify the dominant scale degree of the temporarily tonicized key identified in step 1. This is the root of the secondary dominant.<\/p>\r\n<p style=\"padding-left: 40px\"><strong>Step 4.<\/strong> Given the root identified in step 3, spell a MAmi7 chord (or major triad if not a seventh chord).<\/p>\r\n<p style=\"padding-left: 40px\"><strong>Step 5.<\/strong> Consider the overall tonic key once again, adding accidentals as needed, when spelling the chord rendered in step 4.<\/p>\r\nFigure 31-1 illustrates how to work through the process of spelling a secondary dominant, using V7\/iii in the key of A major.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 31\u20111. Illustration of spelling a secondary dominant<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Goal: to spell V7\/iii in the key of A major.<\/p>\r\n\r\n<ul>\r\n \t<li>In A major, the root of the iii chord is C[latex]\\sharp[\/latex].<\/li>\r\n \t<li>Temporarily disregard the key of A major.<\/li>\r\n \t<li>The dominant scale degree of C[latex]\\sharp[\/latex] is G[latex]\\sharp[\/latex]. Therefore, the root of V7\/iii is G[latex]\\sharp[\/latex].<\/li>\r\n \t<li>A major-minor 7th chord built on G[latex]\\sharp[\/latex] is: G[latex]\\sharp[\/latex] B[latex]\\sharp[\/latex] D[latex]\\sharp[\/latex] F[latex]\\sharp[\/latex].<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Spelling the chord in A major would look like this:<\/p>\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig.-31.1-Gsharp7.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig.-31.1-Gsharp7-300x169.png\" alt=\"image of chord on staff in treble clef. Key signature is 3 sharps. Notes include: G-sharp 4, B-sharp 4, D-sharp 5, F-sharp 5\" width=\"300\" height=\"169\" class=\"aligncenter wp-image-3472 size-medium\" \/><\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T55 Spelling secondary dominants (11:21)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/TJGUNutYMzU?si=jUSuF_6MqZcj9a0U\r\n<p class=\"import-Normal\">This video walks you through the steps needed to spell any secondary dominant chord, using the first three problems from Exercise 31-1 as models.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 31-1 Spelling secondary dominants\"><\/a>EXERCISE 31-1 Spelling secondary dominants<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 31-1 Spelling secondary dominants<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Spell the secondary dominants below. For each problem, provide the key signature of the tonic key and spell the secondary dominant using accidentals as needed. An example is provided.<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: center\">EXAMPLE:<\/p>\r\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image8-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image8-1.png\" width=\"369\" height=\"188\" alt=\"image of chord on staff in treble clef. Key signature is 3 sharps. Notes include: G-sharp 4, B-sharp 4, D-sharp 5, F-sharp 5. Label beneath staff reads A major: five-seven of three\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 1<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image9.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image9.png\" width=\"1431\" height=\"226\" alt=\"image of blank staff with treble clef. Labels beneath read D major: five-seven of five, F minor: five-seven of three, A minor: five-seven of four, E-flat major: five-seven of two, G major: five-seven of three\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 2<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image10-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image10-1.png\" width=\"1431\" height=\"180\" alt=\"image of blank staff with bass clef. Labels beneath read E minor: five-seven of uppercase seven, F major: five-seven of four, A-flat major: five-seven of six, G minor: five-seven of six, C minor: five-seven of five\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 3<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image11-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image11-1.png\" width=\"1431\" height=\"220\" alt=\"image of blank staff with treble clef. Labels beneath read D minor: five-seven of uppercase seven, B minor: five-seven of six, C-sharp major: five-seven of four, F-sharp minor: five-seven of five, A major: five-seven of two\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 4<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image12-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image12-1.png\" width=\"1952\" height=\"229\" alt=\"image of blank staff with bass clef. Labels beneath read B-flat major: five-seven of four, C-sharp minor: five-seven of six, C major: five-seven of three, E major: five-seven of six, B major: five-seven of five\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex31.1-Spelling-secondary-dominants.pdf\" target=\"_blank\" rel=\"noopener\">Ex31.1 Spelling secondary dominants<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Secondary dominants in major keys\"><\/a>Secondary dominants in major keys<\/h1>\r\n<p class=\"import-Normal\">Now that we\u2019ve explored what secondary dominants look like in musical contexts and spelled a few, let\u2019s more systematically listen to and examine the chromatic chords in major keys that appear in the progressions in Example 31\u20117. Each of these secondary dominants immediately resolves to the chord that is tonicized. On the right side, you will see the [pb_glossary id=\"3480\"]secondary leading tone[\/pb_glossary], which is the leading tone of the tonicized key, as well as the solfege syllables used in the secondary dominant. Sometimes the secondary leading tone is the single chromatic note of the chord, as in the V7\/V, V7\/ii, and V7\/vi. In contrast, for the V7\/IV, the chromatic note is not the secondary leading tone, but rather the chordal seventh. Finally, the V7\/iii has not one, but <span>two chromatic notes: the secondary leading tone and the fifth of the chord.<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 31\u20117. Secondary dominants in major keys<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<h6>Example 31\u20117a (V is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image13-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image13-1.png\" width=\"1429\" height=\"340\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, four, five, one, five-seven of five, five, one. Secondary leading tone is labeled as F-sharp. Solfege of secondary dominant is labeled: re fi (la) do \" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117a.mp3\"][\/audio]\r\n<h6>Example 31\u20117b (ii is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image14-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image14-1.png\" width=\"1429\" height=\"335\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, four, five, one, five-seven of two, two, five, one. Secondary leading tone is labeled as C-sharp. Solfege of secondary dominant is labeled: la di mi sol\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117b.mp3\"][\/audio]\r\n<h6 class=\"import-Subcaption\">Example 31\u20117c (vi is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image15.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image15.png\" width=\"1430\" height=\"334\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, four, five, one, five-seven of six, six, five, one. Secondary leading tone is labeled as G-sharp. Solfege of secondary dominant is labeled: mi si ti re\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117c.mp3\"][\/audio]\r\n<h6 class=\"import-Subcaption\">Example 31\u20117d (IV is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image16-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image16-1.png\" width=\"1430\" height=\"335\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, five, one, five-seven of four, four, five-seven, one. Secondary leading tone is labeled as E. Solfege of secondary dominant is labeled: do mi sol te\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117d.mp3\"][\/audio]\r\n<h6 class=\"import-Subcaption\">Example 31\u20117e (iii is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image17-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image17-1.png\" width=\"1430\" height=\"363\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, five, five-seven of three, three, six, two, five-seven, one. Secondary leading tone is labeled as D-sharp. Solfege of secondary dominant is labeled: ti ri fi la\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117e.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T56 Hearing secondary dominants in major keys (11:03)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/DJ0VthH6PKE?si=o9TCP3dV9oyuvAr9\r\n<p class=\"import-Normal\">This video walks you through Example 31\u20117 in order to help you hear the five different secondary dominants available in major keys. We review the solfege syllables associated with each chord, identify the secondary leading tone, listen to each progression, and sing the part that uses the chromaticism in each one.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Secondary dominants in minor keys\"><\/a>Secondary dominants in minor keys<\/h1>\r\n<p class=\"import-Normal\">Example 31\u20118 shows all of the possible secondary dominants in minor keys. Study each example and make note of the secondary leading tone and solfege syllables used in each secondary dominant.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 31\u20118. Secondary dominants in minor keys<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<h6>Example 31\u20118a (V is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image18-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image18-1.png\" width=\"1432\" height=\"337\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, four, five, one, five-seven of five, five, one. Secondary leading tone is labeled as F-sharp. Solfege of secondary dominant is labeled: re fi (la) do \" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8a.mp3\"][\/audio]\r\n<h6 class=\"import-Subcaption\">Example 31\u20118b (VII is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image19-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image19-1.png\" width=\"1431\" height=\"321\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, four, five, one, five-seven of uppercase seven, seven, five-seven, one. Secondary leading tone is labeled as A-natural. Solfege of secondary dominant is labeled: fa la do me\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8b.mp3\"][\/audio]\r\n<h6 class=\"import-Subcaption\">Example 31\u20118c (VI is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image20-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image20-1.png\" width=\"1429\" height=\"344\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, four, five, one, five-seven of six, six, five-seven, one. Secondary leading tone is labeled as G. Solfege of secondary dominant is labeled: me sol (te) ra\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8c.mp3\"][\/audio]\r\n<h6 class=\"import-Subcaption\">Example 31\u20118d (iv is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image21-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image21-1.png\" width=\"1429\" height=\"337\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, five, one, five-seven of four, four, five-seven, one. Secondary leading tone is labeled as E-natural. Solfege of secondary dominant is labeled: do mi sol te\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8d.mp3\"][\/audio]\r\n<h6 class=\"import-Subcaption\">Example 31\u20118e (III is tonicized)<\/h6>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image22-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image22-1.png\" width=\"1877\" height=\"455\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, five, one, four, five-seven of three, three, five, one. Secondary leading tone is labeled as D. Solfege of secondary dominant is labeled: te re (fa) le\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8e.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T57 Hearing secondary dominants in minor keys (11:41)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/eVhemP2Uhlc?si=0Ibf_SL2Kq4rCNks\r\n<p class=\"import-Normal\">This video explores the five secondary dominants available in minor keys, as demonstrated in Example 31\u20118, identifies the solfege syllables associated with each, and invites you to sing the parts that use chromaticism in each progression.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 31-2 Analysis with secondary dominants\"><\/a>EXERCISE 31-2 Analysis with secondary dominants<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 31-2 Analysis with secondary dominants<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. After listening to and studying the excerpt in Worksheet example 31\u20111, do the following:<\/p>\r\n\r\n<ul>\r\n \t<li>Identify the key of the passage.<\/li>\r\n \t<li>Each chord is boxed with a number. Which chords are secondary dominants? (Hint: there are two in this excerpt.)<\/li>\r\n \t<li>For the chords you listed in the previous question, what are the Roman numeral labels for each? And do they resolve as you would expect them to?<\/li>\r\n \t<li>Consider the chords in boxes 3 and 4. If you hear a cadence here, what type would it be?<\/li>\r\n \t<li>Consider the chords in boxes 13 and 14. What type of cadence is implied here?<\/li>\r\n \t<li>There is one [pb_glossary id=\"1711\"]six-four chord[\/pb_glossary] in this passage. Which chord (by number) is the six-four, and which type is it ([pb_glossary id=\"3004\"]passing[\/pb_glossary], [pb_glossary id=\"3007\"]cadential[\/pb_glossary], or [pb_glossary id=\"3008\"]pedal[\/pb_glossary])?<\/li>\r\n \t<li>Consider the passage in box 9. Why might the composer have used A[latex]\\natural[\/latex] and B[latex]\\natural[\/latex] here?<\/li>\r\n \t<li>If you have more time, write a Roman numeral analysis for the entire excerpt.<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 31\u20111. Joseph Bologne, String Quartet, op. 1, no. 4, mvt. 1, mm. 81\u201391[footnote]Example from <a href=\"https:\/\/www.expandingthemusictheorycanon.com\/wp-content\/uploads\/2021\/02\/SD_Boulogne_String-Quartet-No.-4-in-C-Minor-Op.-1_Allegro-Moderato.pdf\" target=\"_blank\" rel=\"noopener\">https:\/\/www.expandingthemusictheorycanon.com\/wp-content\/uploads\/2021\/02\/SD_Boulogne_String-Quartet-No.-4-in-C-Minor-Op.-1_Allegro-Moderato.pdf<\/a>[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image23-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image23-1.png\" width=\"1431\" height=\"616\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image24-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image24-1.png\" width=\"1431\" height=\"624\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.1.mp3\"][\/audio]\r\n<p class=\"import-Normal\">Listen to the full track, performed by the Jean-Noel Molard String Quartet, on <a href=\"https:\/\/open.spotify.com\/track\/1tsloRhn65YfKg2RCBvwOo?si=1056b0acee184f72\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\nAccess the excerpt, without annotations, at <em><a href=\"https:\/\/www.expandingthemusictheorycanon.com\/wp-content\/uploads\/2021\/02\/SD_Boulogne_String-Quartet-No.-4-in-C-Minor-Op.-1_Allegro-Moderato.pdf\" target=\"_blank\" rel=\"noopener\">Expanding the Music Theory Canon<\/a><\/em>.\r\n\r\nLearn about French composer and violinist <strong>Joseph <\/strong><strong>Bologne<\/strong> (1745\u20131799) by reading this <a class=\"rId74\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.24316\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Gabriel Banat.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">PART B. After listening and studying the excerpt in Worksheet example 31\u20112, provide a Roman numeral analysis for mm. 9\u201316 on the blanks provided.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 31\u20112. Franz Schubert, Ecossaisen, op. 18, no. 1, mm. 1\u201316[footnote]Example from https:\/\/musictheoryexamples.com\/ by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image25.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image25.png\" width=\"1363\" height=\"733\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.2-schubert.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Michael Endres, on <a href=\"https:\/\/open.spotify.com\/track\/6KNroMwfVxj38cVSnqguIB?si=c013994c7e9e4fc5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId71\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">PART C. After listening to and studying the excerpt in Worksheet example 31\u20113, do the following:<\/p>\r\n\r\n<ul>\r\n \t<li>Identify all of the chromatic chords in this piece. Assuming a [pb_glossary id=\"2246\"]harmonic rhythm[\/pb_glossary] of one chord per bar, which measures contain secondary dominants?<\/li>\r\n \t<li>Now provide a Roman numeral label (with figured bass as needed to show inversions) for each measure containing a secondary dominant and the measure following each one (the chords of resolution).<\/li>\r\n \t<li>What kind of cadence occurs in mm. 7\u20138? In mm. 15\u201316?<\/li>\r\n \t<li>There is a [pb_glossary id=\"2131\"]melodic sequence[\/pb_glossary] beginning in m. 9. Identify the [pb_glossary id=\"2132\"]model[\/pb_glossary] and [pb_glossary id=\"2133\"]leg[\/pb_glossary].<\/li>\r\n \t<li>There are 2 [pb_glossary id=\"4662\"]six-four chords[\/pb_glossary] in this excerpt. In which measures do they occur? And which type of six-four are they ([pb_glossary id=\"3004\"]passing[\/pb_glossary], [pb_glossary id=\"3007\"]cadential[\/pb_glossary], or [pb_glossary id=\"3008\"]pedal[\/pb_glossary]) and why?<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 31\u20113. Franz Schubert, Originalt\u00e4nze, op. 9, no. 16, mm. 1\u201316[footnote]Example from <a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a> by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image26-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image26-1.png\" width=\"1249\" height=\"1102\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.3.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Maria Bergmann, on <a href=\"https:\/\/open.spotify.com\/track\/5F0e6GNUT2LGvGjxrTrLXI?si=5c41a1215ac849b0\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId71\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">PART D. After listening and studying the excerpt in Worksheet example 31\u20114, identify the key, provide a Roman numeral analysis, and label all circled non-chord tones.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 31\u20114. Ludwig van Beethoven, Violin Sonata no. 6 in A major, mvt. 2, mm. 1\u20139[footnote]Example from <a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a> by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image27-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image27-1.png\" width=\"1281\" height=\"586\" alt=\"image of score with blanks for key and Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image28-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image28-1.png\" width=\"1286\" height=\"576\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image29-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image29-1.png\" width=\"1318\" height=\"559\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.4.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by violinist Pamela Frank and pianist Claude Frank, on <a href=\"https:\/\/open.spotify.com\/track\/0RQ9uAKCsGUBHYttqzX5WB?si=9240eb81e9fc4d69\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n<p class=\"import-Normal\">Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId66\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">PART E. Study and listen to the excerpt in Worksheet example 31\u20115. Although the piece as a whole is in the key of G minor, we will interpret this passage in the key of B[latex]\\flat[\/latex] major. Please provide Roman numerals for the chords numbered from 1 to 11 in the key of B[latex]\\flat[\/latex] major. Pro tip: remember seventh chords can be [pb_glossary id=\"2963\"]incomplete[\/pb_glossary]!<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 31\u20115. Niccol\u00f2 Paganini, Caprice in G minor, op. 1 no. 6, mm. 11\u201314[footnote]Example from <a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a> by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image30-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image30-1.png\" width=\"1429\" height=\"594\" alt=\"image of score with blanks for Roman numerals beneath staff in second system\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.5.mp3\"][\/audio]\r\n<p class=\"import-Normal\">Listen to the full track, performed by violinist Itzhak Perlman, on <a href=\"https:\/\/open.spotify.com\/track\/3McpYTmip1bqIKOQxas5vC?si=7bb303011fe149f2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\r\nLearn about Italian virtuoso violinist and composer <strong>Niccol\u00f2 Paganini<\/strong> (1782\u20131840) by reading this <a class=\"rId72\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40008\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Edward Neill.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">PART F. Study and listen to Worksheet example 31\u20116. This excerpt uses the key signature of D major, but this portion is best analyzed in the key of C major. Please provide Roman numerals for each of the numbered chords in the key of C major.<\/p>\r\n<p class=\"import-Normal\">Identify the secondary dominants. Which secondary dominant resolves as you would expect? Which one doesn\u2019t, and why?<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 31\u20116. Pyotr Il'yich Tchaikovsky, Violin Concerto in D major, op. 35, mvt. 1, mm. 162\u201367[footnote]Example from <a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a> by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.[\/footnote]<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image31-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image31-1.png\" width=\"1429\" height=\"608\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image32-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image32-1.png\" width=\"1429\" height=\"566\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image33-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image33-1.png\" width=\"1429\" height=\"581\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.6.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by Itzhak Perlman and the Philadelphia Orchestra, conducted by Eugene Ormandy, on <a href=\"https:\/\/open.spotify.com\/track\/0V6V6fwKxTHDrsLLmgW432?si=4b9f161d6ed04814\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Russian composer <strong>Pyotr<\/strong><strong> Il'yich Tchaikovsky<\/strong> (1840\u20131893) by reading this <a class=\"rId73\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51766\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Roland John Wiley.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex31.2-Analysis-with-secondary-dominants.pdf\" target=\"_blank\" rel=\"noopener\">Ex31.2 Analysis with secondary dominants<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId75\" href=\"https:\/\/open.spotify.com\/playlist\/4esy3W65RiuMWWi1aZuaP6?si=60a72297828c4e88\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for secondary dominants<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Harmonic dictation with secondary dominants\"><\/a>Harmonic dictation with secondary dominants<\/h1>\r\nTo hone your aural skills, you can practice notating short progressions that use secondary dominants. To this end,<span><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\"> Appendix E<\/a>, nos 18\u201322, <\/span>contains dictations with these chords. To practice this skill, listen to each short progression up to four times with the goals of notating the soprano and bass voices, providing Roman numerals beneath the staff, and identifying the cadence. Some students find it helpful to listen for the chromatic chords and\/or secondary leading tones in the first or second hearing, marking the chords outside of the key and then determining the diatonic chord of resolution from the greater context. As with other harmonic dictation exercises we have done to date, all notes in the soprano and bass voices will be chord tones.\r\n<h1><a id=\"Voice leading with secondary dominants\"><\/a>Voice leading with secondary dominants<\/h1>\r\n<p class=\"import-Normal\"><span>Secondary dominants are connected to their respective chords of resolution in the same way as diatonic dominant sevenths. If you need a reminder of these principles, review the section of <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/satb-part-writing\/\">Chapter 25<\/a> titled \u201cVoice leading with V7 and its inversions.\u201d<\/span><\/p>\r\n<p class=\"import-Normal\">The following summarizes best practices for resolving secondary dominants:<\/p>\r\n\r\n<ul>\r\n \t<li>Since the seventh of the V7 is considered a dissonance, it needs special preparation. When possible, prepare the seventh by the same note; otherwise, use stepwise motion.<\/li>\r\n \t<li>Resolve the seventh of the chord down by step to the third of the resolution chord.<\/li>\r\n \t<li>Resolve the [pb_glossary id=\"3480\"]secondary leading tone[\/pb_glossary], which is the third of the chord, up by step to the root of the resolution chord, unless it appears in an inner voice, in which case you may \u201c[pb_glossary id=\"2900\"]frustrate[\/pb_glossary]\u201d it.<\/li>\r\n \t<li>Resolve all other voices using same-note or stepwise motion whenever possible.<\/li>\r\n \t<li>For all inverted seventh chords, both the secondary dominant and chord of resolution should be complete (no omitted fifths).<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">When resolving root-position secondary dominants to root-position chords of resolution, three models are possible, illustrated in Example 31\u20119:<\/p>\r\n\r\n<ul>\r\n \t<li>Bar 1: Complete seventh chord to complete triad (requires frustrating the secondary leading tone, possible only if the leading tone is in the alto or tenor voice)<\/li>\r\n \t<li>Bar 2: Incomplete seventh chord to complete triad (allows secondary leading tone to resolve up)<\/li>\r\n \t<li>Bar 3: Complete seventh chord to incomplete triad (allows secondary leading tone to resolve up)<\/li>\r\n<\/ul>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 31\u20119. Three models for resolving root-position secondary dominants<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-1024x337.png\" alt=\"image of Grand Staff with three resolutions of five-seven-of-five to five. First resolution: soprano is B4 to A4, alto is D4 to C-sharp 4, tenor is frustrated from G-sharp 3 to E3, and bass is E3 to A2. Second resolution: soprano is G-sharp 4 to A4, alto is D4 to C-sharp 4, tenor stays on E3, and bass is E3 to A2. Third resolution: soprano is B4 to A4, alto is D4 to C-sharp 4, tenor is G-sharp 3 to A3, and bass is E3 to A2.\" width=\"1024\" height=\"337\" class=\"alignnone wp-image-3536 size-large\" \/><\/a><\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T58 Part writing with secondary dominants (10:54)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/c1Ivvaf_MZw?si=DfDfkbQ3-oou6s3D\r\n<p class=\"import-Normal\">This video walks you through three possible resolutions of a root position secondary dominant (Example 31-9).<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 31-3 Part writing with secondary dominants\"><\/a>EXERCISE 31-3 Part writing with secondary dominants<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 31-3 Part writing with secondary dominants<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Provide a key signature for each progression and realize each two-chord progression in four parts ([pb_glossary id=\"2799\"]SATB[\/pb_glossary]), following these guidelines:<\/p>\r\n<p class=\"import-Normal\">For all root-position seventh chords, choose one of the following resolution patterns and label which type of resolution you have chosen above the staff:<\/p>\r\n\r\n<ul>\r\n \t<li>Complete seventh chord to complete triad (requires frustrating the secondary leading tone, possible only if the leading tone is in the alto or tenor voice)<\/li>\r\n \t<li>Incomplete seventh chord to complete triad (allows secondary leading tone to resolve up)<\/li>\r\n \t<li>Complete seventh chord to incomplete triad (allows secondary leading tone to resolve up)<\/li>\r\n<\/ul>\r\nSET 1\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image35-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image35-1.png\" width=\"1429\" height=\"440\" alt=\"image of blank Grand staff with four bars. Labels beneath staff read D major: five-seven-of-five to five; F minor: five-seven-of-five to five; E major: five-six-five-of-five to five; C minor: five-four-three-of-six to six\" class=\"alignnone\" \/><\/a>\r\n\r\nSET 2\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image36-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image36-1.png\" width=\"1429\" height=\"434\" alt=\"image of blank Grand staff with four bars. Labels beneath staff read A-flat major: five-seven-of-six to six; F major: five-four-two-of-four to four-six; E minor: five-six-five-of-four to four; A major: five-four-three-of-two to two\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex31.3-Part-writing-with-secondary-dominants.pdf\">Ex31.3 Part writing with secondary dominants<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 31-4 Error detection with secondary dominants part writing\"><\/a>EXERCISE 31-4 Error detection with secondary dominants part writing<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 31-4 Error detection with secondary dominants part writing<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">There\u2019s something wrong with each of these. Your mission is to figure out what is wrong and how to fix it. Create a better solution on a separate piece of staff paper.<\/p>\r\n<p class=\"import-Normal\">(1)<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image37-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image37-1.png\" width=\"452\" height=\"345\" alt=\"image of Grand Staff. Key signature is four flats. Labels beneath staff read F minor: five-seven-of-five to five. Soprano is B-flat 4 to C5, alto is F4 to E-flat 4, tenor is D-flat 4 to C, bass is G2 to C3\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\">(2)<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image38-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image38-1.png\" width=\"452\" height=\"351\" alt=\"image of Grand Staff. Key signature is four sharps. Labels beneath staff read E major: five-six-five-of-five to five. Soprano is C-sharp 5 to B4, alto stays on F4, tenor is E3 to D3, bass is A-sharp 2 to B2\" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\">(3)<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image39-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image39-1.png\" width=\"452\" height=\"355\" alt=\"image of Grand Staff. Key signature is three sharps. Labels beneath staff read A major: five-four-three-of-two to two. Soprano is E5 to D5, alto is F-sharp 4 to B4, tenor is A-sharp 3 to F-sharp 3, bass is C-sharp 3 to B2\" class=\"alignnone\" \/><\/a><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex31.4-Error-detection-with-secondary-dominants-part-writing.pdf\" target=\"_blank\" rel=\"noopener\">Ex31.4 Error detection with secondary dominants part writing<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 31<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId76\" href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/tonicization\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">John Peterson and Megan Lavengood\u2019s chapter on tonicization<\/span><\/a><span class=\"import-Hyperlink\">\u00a0(Open Music Theory)<\/span><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId77\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/27-applied-chords\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount\u2019s chapter on applied chords<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId78\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/SecondaryDominants.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson\u2019s chapter on secondary dominants<\/span><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"secondary-dominants\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 31<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>What <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3445\">secondary dominants<\/a> are<\/li>\n<li>How to spell secondary dominants<\/li>\n<li>How to identify secondary dominants in musical contexts<\/li>\n<li>Strategies for listening to secondary dominants, focused on <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_2509\">solfege<\/a> tendency tones<\/li>\n<li>How to connect secondary dominants to their chords of resolution in four voices<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Secondary dominants<\/h1>\n<p class=\"import-Normal\">Similar to <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_345\">diatonic<\/a> chords, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_346\">chromatic<\/a> chords\u2014that is, chords that have one or more notes outside of the tonic key\u2014have specific tonal functions. The most commonly occurring type of chromatic chord is the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3445\">secondary dominant<\/a>, which refers to any chord that temporarily functions as a dominant to a diatonic major or minor chord that is not tonic. Secondary dominants result in a process called <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3447\">tonicization<\/a>. We consider a chord to be \u201ctonicized\u201d when its secondary dominant appears, temporarily destabilizing the tonic key and giving way to a different, albeit momentary, new tonic.<\/p>\n<p class=\"import-Normal\"><span>Only major triads and major-minor (MAmi7) seventh chords can function as secondary dominants.<\/span> Both triads and seventh chords used as secondary dominants may be <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_2963\">incomplete<\/a>, meaning the fifth may be omitted. But even when this happens, the quality is still always either a major triad or a major-minor seventh.<\/p>\n<div class=\"textbox shaded\">\n<p><strong>Fun Fact<\/strong>: V<sup>7<\/sup>\/III in minor keys is not a chromatic chord; all of its notes fit within the diatonic minor key.<\/p>\n<\/div>\n<div class=\"textbox shaded\">\n<p><strong>Another Fun Fact<\/strong>: Diminished triads cannot be tonicized since tonic chords are never diminished. This means that the leading tone triad (viio) and the supertonic triad (iio) in minor keys cannot be tonicized.<\/p>\n<\/div>\n<h1><a><\/a>Secondary dominants in context<\/h1>\n<p class=\"import-Normal\">The following examples show secondary dominants in a variety of music contexts.<\/p>\n<p class=\"import-Normal\">In Example 31\u20111, the second-to-last chord is the secondary dominant, in this case tonicizing dominant, G. The secondary dominant has one chromatic note\u2014F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>\u2014outside of the tonic key of C. <span>Because the chord has a raised third and proceeds immediately to G, we interpret the D chord not as the supertonic triad of C major, but as the dominant of the G chord to which it resolves. Since D is the V chord in the key of G, and G is V in the overall key of C, we call this \u201cV of V,\u201d written in Roman numeral analysis as \u201cV\/V.\u201d<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 31\u20111. Franz Joseph Haydn, Symphony no. 94, mvt. 2, mm. 1\u20138<a class=\"footnote\" title=\"&quot;Symphony No.94 in G major, Hob.I:94 (Haydn, Joseph)&quot; by Paul-Gustav Feller is licensed under CC BY-NC 4.0. Annotations are mine.\" id=\"return-footnote-748-1\" href=\"#footnote-748-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image1-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image1-1.png\" width=\"1341\" height=\"498\" alt=\"image of score, annotated with key of c major and last two Roman numerals: five-of-five, five\" class=\"alignnone\" \/><\/a><small><\/small><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-748-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Academy of Ancient Music, conducted by Christopher Hogwood, on <a href=\"https:\/\/open.spotify.com\/track\/1BVOnJ6U2lWjklPwzNTrfP?si=ef2a82de67254fd7\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about <strong>Franz Joseph<\/strong><strong>\u00a0Haydn<\/strong> (1732\u20131809) by reading this <a class=\"rId65\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.44593\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Georg Feder and James Webster.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T53 Intro to secondary dominants (7:55)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T53 Intro to Secondary Dominants\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/VM6wNb89NTo?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the concept of secondary dominants and shows its appearance in the second movement from Haydn&#8217;s Symphony no. 94 (Example 31\u20111).<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Now let&#8217;s take a look at Example 31-2, which is more complex. The tonic key is also C major here, but notice that even in just the first few measures, there are multiple chromatic chords. At first glance, you might think the opening chord is tonic\u2014the root is C, and we have a stack of thirds built on tonic. However, if you take a closer look, you will see the chord is not a tonic triad, but rather a MAmi7 chord (C-E-G-B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), and it is, in fact, chromatic, since the chordal seventh is B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, not B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-90d6efc993f43700cc9e06c03b8882ba_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#110;&#97;&#116;&#117;&#114;&#97;&#108;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"5\" style=\"vertical-align: -4px;\" \/>. <span>This makes it a secondary dominant tonicizing the IV chord: V7\/IV.<\/span><\/p>\n<p class=\"import-Normal\">In measure 2, we get the true dominant of the key (G7), but it resolves deceptively not to tonic, but rather to the submediant (A minor). Measure 3 presents us with another chromatic chord\u2014recognize its similarity to the secondary dominant in Example 31\u20111? This is V7\/V, now D7 (D-F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>-A-C) instead of D, tonicizing V (G), which appears in the following measure. What an interesting way to begin a symphony\u2014delaying the appearance of the tonic chord until later.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 31\u20112. Ludwig van Beethoven, Symphony no. 1, mvt. 1, mm. 1\u20134<a class=\"footnote\" title=\"&quot;Symphony No.1, Op.21 (Beethoven, Ludwig van)&quot; by CCARH Team is licensed under CC BY-NC 3.0. Annotations are mine.\" id=\"return-footnote-748-2\" href=\"#footnote-748-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image2-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image2-1.png\" width=\"1217\" height=\"1415\" alt=\"image of score, with annotations showing key of C major, Roman numerals: five-seven-of-four, four, five-seven, six, five-seven-of-five, five\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.2.mp3<\/a><\/audio><\/p>\n<p class=\"p1\">Listen to the full track, performed by the Cleveland Symphony Orchestra, conducted by George Szell, on <a href=\"https:\/\/open.spotify.com\/track\/0x2mXHXEY0l0yoN2Wl21lx?si=9da9de59325045f5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId66\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T54 Secondary dominants in Beethoven&#8217;s Symphony no. 1, mvt. 1 (10:41)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"T54 Secondary Dominants in Beethoven&#39;s Symphony no  1, mvt  1\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/9iGCYYvXRH4?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video walks you through a harmonic analysis of the first four measures of the first movement of Beethoven&#8217;s Symphony no. 1 (Example 31\u20112), which interestingly has no tonic chords until later in the movement. This passage features two different secondary dominants, as well as a deceptive resolution of a primary dominant seventh.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Example 31\u20113 uses the V7\/IV in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_1712\">third inversion<\/a>, so the chordal seventh (F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-90d6efc993f43700cc9e06c03b8882ba_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#110;&#97;&#116;&#117;&#114;&#97;&#108;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"5\" style=\"vertical-align: -4px;\" \/>) resolves down by step in the bass, and the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3480\">secondary leading tone<\/a> (B) resolves up as we would expect it to (to C).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 31\u20113. Transcription of Lin-Manuel Miranda, \u201cYou\u2019ll Be Back\u201d from <em>Hamilton<\/em>, 0:00\u20130:05<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image3.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image3.png\" width=\"784\" height=\"343\" alt=\"image of three chords written in four parts on the Grand staff in G major: one, five-four-two of four, four-six\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.3.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Jonathan Groff, on <a href=\"https:\/\/open.spotify.com\/track\/6OG1S805gIrH5nAQbEOPY3?si=955ce516af4a4baf\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American composer and lyricist <strong>Lin-Manuel Miranda<\/strong> (b. 1980) by reading this <a class=\"rId67\" href=\"https:\/\/doi.org\/10.1093\/omo\/9781561592630.013.90000369486\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Elizabeth Craft.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Examples 31-4 through 31-6 tonicize the submediant triad by using the V\/vi or V7\/vi.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 31\u20114. Transcription of Sam Smith, \u201cI\u2019m Not the Only One,\u201d 0:00\u20130:11<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image4-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image4-1.png\" width=\"859\" height=\"410\" alt=\"image of score in F major with chord symbols: F, A, D minor, B-flat major 7. Roman numerals beneath staff: one, five-of-six, six, four-major-seven\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.4.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7795WJLVKJoAyVoOtCWqXN?si=82745e8f00fc4d0f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about English singer and songwriter <strong>Sam Smith<\/strong> (b. 1992) by reading their <a class=\"rId68\" href=\"https:\/\/www.last.fm\/music\/Sam+Smith\/+wiki\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> at last.fm.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 31\u20115. Transcription of Lake Street Dive, \u201cYou Go Down Smooth,\u201d 1:20\u20131:26<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive-1024x222.png\" alt=\"image of score, treble clef, four sharp, with melody notated on the staff. Lead sheet symbols above staff: B augmented, E, G-sharp over D-sharp, G-sharp, C-sharp minor, B, A. Roman numerals beneath staff in E major: five augmented, one, five-six-four of six, five of six, six, five, four.\" width=\"1024\" height=\"222\" class=\"alignnone wp-image-4702 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive-1024x222.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive-300x65.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive-768x167.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive-1536x333.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive-65x14.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive-225x49.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive-350x76.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.05-lake-street-dive.png 1917w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.5.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.5.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.5.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/65EVlEBJkMJCskhQwUUGew?si=383df798c81044b1\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 21st-century American pop\/rock band <strong>Lake Street Dive<\/strong> by reading this <a class=\"rId69\" href=\"https:\/\/en.wikipedia.org\/wiki\/Lake_Street_Dive\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Wikipedia article<\/span><\/a>.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 31\u20116. Transcription of Ray LaMontagne, \u201cYou Are the Best Thing,\u201d 0:00\u20130:05<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image6-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image6-1.png\" width=\"942\" height=\"245\" alt=\"image of melody in F major. Chord symbols above staff: (F), B-flat, D7, G minor. Roman numerals beneath staff: five, one, five-seven-of-six, six\" style=\"font-size: 14pt\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.6.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.6.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.6.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1jyddn36UN4tVsJGtaJfem?si=8c6333cb95544e60\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer-songwriter <strong>Ray LaMontagne<\/strong> (b. 1973) by reading his <a class=\"rId70\" href=\"https:\/\/www.allmusic.com\/artist\/ray-lamontagne-mn0000182302\/biography\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">bio<\/span><\/a> on allmusic.com, written by Steve Leggett.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p>Listen to the audio examples featured in this chapter here: <a class=\"rId75\" href=\"https:\/\/open.spotify.com\/playlist\/4esy3W65RiuMWWi1aZuaP6?si=60a72297828c4e88\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for secondary dominants<\/span><\/a><\/p>\n<\/div>\n<h1><a><\/a>Spelling secondary dominants<\/h1>\n<p class=\"import-Normal\">Follow these steps for success in spelling secondary dominants:<\/p>\n<p style=\"padding-left: 40px\"><strong>Step 1.<\/strong> Identify the root of the chord that is to be tonicized.<\/p>\n<p style=\"padding-left: 40px\"><strong>Step 2.<\/strong> For a moment, disregard the tonic key.<\/p>\n<p style=\"padding-left: 40px\"><strong>Step 3.<\/strong> Identify the dominant scale degree of the temporarily tonicized key identified in step 1. This is the root of the secondary dominant.<\/p>\n<p style=\"padding-left: 40px\"><strong>Step 4.<\/strong> Given the root identified in step 3, spell a MAmi7 chord (or major triad if not a seventh chord).<\/p>\n<p style=\"padding-left: 40px\"><strong>Step 5.<\/strong> Consider the overall tonic key once again, adding accidentals as needed, when spelling the chord rendered in step 4.<\/p>\n<p>Figure 31-1 illustrates how to work through the process of spelling a secondary dominant, using V7\/iii in the key of A major.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 31\u20111. Illustration of spelling a secondary dominant<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Goal: to spell V7\/iii in the key of A major.<\/p>\n<ul>\n<li>In A major, the root of the iii chord is C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>.<\/li>\n<li>Temporarily disregard the key of A major.<\/li>\n<li>The dominant scale degree of C<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> is G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>. Therefore, the root of V7\/iii is G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>.<\/li>\n<li>A major-minor 7th chord built on G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> is: G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> D<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/>.<\/li>\n<\/ul>\n<p class=\"import-Normal\">Spelling the chord in A major would look like this:<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig.-31.1-Gsharp7.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig.-31.1-Gsharp7-300x169.png\" alt=\"image of chord on staff in treble clef. Key signature is 3 sharps. Notes include: G-sharp 4, B-sharp 4, D-sharp 5, F-sharp 5\" width=\"300\" height=\"169\" class=\"aligncenter wp-image-3472 size-medium\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig.-31.1-Gsharp7-300x169.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig.-31.1-Gsharp7-65x37.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig.-31.1-Gsharp7-225x126.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig.-31.1-Gsharp7-350x197.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/fig.-31.1-Gsharp7.png 370w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T55 Spelling secondary dominants (11:21)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-3\" title=\"T55 Spelling Secondary Dominants\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/TJGUNutYMzU?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video walks you through the steps needed to spell any secondary dominant chord, using the first three problems from Exercise 31-1 as models.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 31-1 Spelling secondary dominants<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 31-1 Spelling secondary dominants<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Spell the secondary dominants below. For each problem, provide the key signature of the tonic key and spell the secondary dominant using accidentals as needed. An example is provided.<\/p>\n<p class=\"import-Normal\" style=\"text-align: center\">EXAMPLE:<\/p>\n<p class=\"import-Normal\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image8-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image8-1.png\" width=\"369\" height=\"188\" alt=\"image of chord on staff in treble clef. Key signature is 3 sharps. Notes include: G-sharp 4, B-sharp 4, D-sharp 5, F-sharp 5. Label beneath staff reads A major: five-seven of three\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 1<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image9.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image9.png\" width=\"1431\" height=\"226\" alt=\"image of blank staff with treble clef. Labels beneath read D major: five-seven of five, F minor: five-seven of three, A minor: five-seven of four, E-flat major: five-seven of two, G major: five-seven of three\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 2<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image10-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image10-1.png\" width=\"1431\" height=\"180\" alt=\"image of blank staff with bass clef. Labels beneath read E minor: five-seven of uppercase seven, F major: five-seven of four, A-flat major: five-seven of six, G minor: five-seven of six, C minor: five-seven of five\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 3<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image11-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image11-1.png\" width=\"1431\" height=\"220\" alt=\"image of blank staff with treble clef. Labels beneath read D minor: five-seven of uppercase seven, B minor: five-seven of six, C-sharp major: five-seven of four, F-sharp minor: five-seven of five, A major: five-seven of two\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\">SET 4<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 18pt\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image12-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image12-1.png\" width=\"1952\" height=\"229\" alt=\"image of blank staff with bass clef. Labels beneath read B-flat major: five-seven of four, C-sharp minor: five-seven of six, C major: five-seven of three, E major: five-seven of six, B major: five-seven of five\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex31.1-Spelling-secondary-dominants.pdf\" target=\"_blank\" rel=\"noopener\">Ex31.1 Spelling secondary dominants<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Secondary dominants in major keys<\/h1>\n<p class=\"import-Normal\">Now that we\u2019ve explored what secondary dominants look like in musical contexts and spelled a few, let\u2019s more systematically listen to and examine the chromatic chords in major keys that appear in the progressions in Example 31\u20117. Each of these secondary dominants immediately resolves to the chord that is tonicized. On the right side, you will see the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3480\">secondary leading tone<\/a>, which is the leading tone of the tonicized key, as well as the solfege syllables used in the secondary dominant. Sometimes the secondary leading tone is the single chromatic note of the chord, as in the V7\/V, V7\/ii, and V7\/vi. In contrast, for the V7\/IV, the chromatic note is not the secondary leading tone, but rather the chordal seventh. Finally, the V7\/iii has not one, but <span>two chromatic notes: the secondary leading tone and the fifth of the chord.<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 31\u20117. Secondary dominants in major keys<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<h6>Example 31\u20117a (V is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image13-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image13-1.png\" width=\"1429\" height=\"340\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, four, five, one, five-seven of five, five, one. Secondary leading tone is labeled as F-sharp. Solfege of secondary dominant is labeled: re fi (la) do\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-7\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117a.mp3?_=7\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117a.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117a.mp3<\/a><\/audio><\/p>\n<h6>Example 31\u20117b (ii is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image14-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image14-1.png\" width=\"1429\" height=\"335\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, four, five, one, five-seven of two, two, five, one. Secondary leading tone is labeled as C-sharp. Solfege of secondary dominant is labeled: la di mi sol\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-8\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117b.mp3?_=8\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117b.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117b.mp3<\/a><\/audio><\/p>\n<h6 class=\"import-Subcaption\">Example 31\u20117c (vi is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image15.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image15.png\" width=\"1430\" height=\"334\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, four, five, one, five-seven of six, six, five, one. Secondary leading tone is labeled as G-sharp. Solfege of secondary dominant is labeled: mi si ti re\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-9\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117c.mp3?_=9\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117c.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117c.mp3<\/a><\/audio><\/p>\n<h6 class=\"import-Subcaption\">Example 31\u20117d (IV is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image16-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image16-1.png\" width=\"1430\" height=\"335\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, five, one, five-seven of four, four, five-seven, one. Secondary leading tone is labeled as E. Solfege of secondary dominant is labeled: do mi sol te\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-10\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117d.mp3?_=10\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117d.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117d.mp3<\/a><\/audio><\/p>\n<h6 class=\"import-Subcaption\">Example 31\u20117e (iii is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image17-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image17-1.png\" width=\"1430\" height=\"363\" alt=\"image of chord progression on Grand staff in C major. Roman numerals beneath staff: one, five, five-seven of three, three, six, two, five-seven, one. Secondary leading tone is labeled as D-sharp. Solfege of secondary dominant is labeled: ti ri fi la\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-11\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117e.mp3?_=11\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117e.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31\u20117e.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T56 Hearing secondary dominants in major keys (11:03)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-4\" title=\"T56 Hearing Secondary Dominants in Major Keys\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/DJ0VthH6PKE?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video walks you through Example 31\u20117 in order to help you hear the five different secondary dominants available in major keys. We review the solfege syllables associated with each chord, identify the secondary leading tone, listen to each progression, and sing the part that uses the chromaticism in each one.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Secondary dominants in minor keys<\/h1>\n<p class=\"import-Normal\">Example 31\u20118 shows all of the possible secondary dominants in minor keys. Study each example and make note of the secondary leading tone and solfege syllables used in each secondary dominant.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 31\u20118. Secondary dominants in minor keys<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<h6>Example 31\u20118a (V is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image18-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image18-1.png\" width=\"1432\" height=\"337\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, four, five, one, five-seven of five, five, one. Secondary leading tone is labeled as F-sharp. Solfege of secondary dominant is labeled: re fi (la) do\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-12\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8a.mp3?_=12\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8a.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8a.mp3<\/a><\/audio><\/p>\n<h6 class=\"import-Subcaption\">Example 31\u20118b (VII is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image19-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image19-1.png\" width=\"1431\" height=\"321\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, four, five, one, five-seven of uppercase seven, seven, five-seven, one. Secondary leading tone is labeled as A-natural. Solfege of secondary dominant is labeled: fa la do me\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-13\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8b.mp3?_=13\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8b.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8b.mp3<\/a><\/audio><\/p>\n<h6 class=\"import-Subcaption\">Example 31\u20118c (VI is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image20-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image20-1.png\" width=\"1429\" height=\"344\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, four, five, one, five-seven of six, six, five-seven, one. Secondary leading tone is labeled as G. Solfege of secondary dominant is labeled: me sol (te) ra\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-14\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8c.mp3?_=14\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8c.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8c.mp3<\/a><\/audio><\/p>\n<h6 class=\"import-Subcaption\">Example 31\u20118d (iv is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image21-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image21-1.png\" width=\"1429\" height=\"337\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, five, one, five-seven of four, four, five-seven, one. Secondary leading tone is labeled as E-natural. Solfege of secondary dominant is labeled: do mi sol te\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-15\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8d.mp3?_=15\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8d.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8d.mp3<\/a><\/audio><\/p>\n<h6 class=\"import-Subcaption\">Example 31\u20118e (III is tonicized)<\/h6>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image22-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image22-1.png\" width=\"1877\" height=\"455\" alt=\"image of chord progression on Grand staff in C minor. Roman numerals beneath staff: one, five, one, four, five-seven of three, three, five, one. Secondary leading tone is labeled as D. Solfege of secondary dominant is labeled: te re (fa) le\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-16\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8e.mp3?_=16\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8e.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-31.8e.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T57 Hearing secondary dominants in minor keys (11:41)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-5\" title=\"T57 Hearing Secondary Dominants in Minor Keys\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/eVhemP2Uhlc?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video explores the five secondary dominants available in minor keys, as demonstrated in Example 31\u20118, identifies the solfege syllables associated with each, and invites you to sing the parts that use chromaticism in each progression.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 31-2 Analysis with secondary dominants<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 31-2 Analysis with secondary dominants<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. After listening to and studying the excerpt in Worksheet example 31\u20111, do the following:<\/p>\n<ul>\n<li>Identify the key of the passage.<\/li>\n<li>Each chord is boxed with a number. Which chords are secondary dominants? (Hint: there are two in this excerpt.)<\/li>\n<li>For the chords you listed in the previous question, what are the Roman numeral labels for each? And do they resolve as you would expect them to?<\/li>\n<li>Consider the chords in boxes 3 and 4. If you hear a cadence here, what type would it be?<\/li>\n<li>Consider the chords in boxes 13 and 14. What type of cadence is implied here?<\/li>\n<li>There is one <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_1711\">six-four chord<\/a> in this passage. Which chord (by number) is the six-four, and which type is it (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3004\">passing<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3007\">cadential<\/a>, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3008\">pedal<\/a>)?<\/li>\n<li>Consider the passage in box 9. Why might the composer have used A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-90d6efc993f43700cc9e06c03b8882ba_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#110;&#97;&#116;&#117;&#114;&#97;&#108;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"5\" style=\"vertical-align: -4px;\" \/> and B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-90d6efc993f43700cc9e06c03b8882ba_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#110;&#97;&#116;&#117;&#114;&#97;&#108;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"5\" style=\"vertical-align: -4px;\" \/> here?<\/li>\n<li>If you have more time, write a Roman numeral analysis for the entire excerpt.<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 31\u20111. Joseph Bologne, String Quartet, op. 1, no. 4, mvt. 1, mm. 81\u201391<a class=\"footnote\" title=\"Example from https:\/\/www.expandingthemusictheorycanon.com\/wp-content\/uploads\/2021\/02\/SD_Boulogne_String-Quartet-No.-4-in-C-Minor-Op.-1_Allegro-Moderato.pdf\" id=\"return-footnote-748-3\" href=\"#footnote-748-3\" aria-label=\"Footnote 3\"><sup class=\"footnote\">[3]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image23-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image23-1.png\" width=\"1431\" height=\"616\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image24-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image24-1.png\" width=\"1431\" height=\"624\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-17\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.1.mp3?_=17\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.1.mp3<\/a><\/audio><\/p>\n<p class=\"import-Normal\">Listen to the full track, performed by the Jean-Noel Molard String Quartet, on <a href=\"https:\/\/open.spotify.com\/track\/1tsloRhn65YfKg2RCBvwOo?si=1056b0acee184f72\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Access the excerpt, without annotations, at <em><a href=\"https:\/\/www.expandingthemusictheorycanon.com\/wp-content\/uploads\/2021\/02\/SD_Boulogne_String-Quartet-No.-4-in-C-Minor-Op.-1_Allegro-Moderato.pdf\" target=\"_blank\" rel=\"noopener\">Expanding the Music Theory Canon<\/a><\/em>.<\/p>\n<p>Learn about French composer and violinist <strong>Joseph <\/strong><strong>Bologne<\/strong> (1745\u20131799) by reading this <a class=\"rId74\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.24316\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Gabriel Banat.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">PART B. After listening and studying the excerpt in Worksheet example 31\u20112, provide a Roman numeral analysis for mm. 9\u201316 on the blanks provided.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 31\u20112. Franz Schubert, Ecossaisen, op. 18, no. 1, mm. 1\u201316<a class=\"footnote\" title=\"Example from https:\/\/musictheoryexamples.com\/ by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.\" id=\"return-footnote-748-4\" href=\"#footnote-748-4\" aria-label=\"Footnote 4\"><sup class=\"footnote\">[4]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image25.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image25.png\" width=\"1363\" height=\"733\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-18\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.2-schubert.mp3?_=18\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.2-schubert.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.2-schubert.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Michael Endres, on <a href=\"https:\/\/open.spotify.com\/track\/6KNroMwfVxj38cVSnqguIB?si=c013994c7e9e4fc5\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId71\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">PART C. After listening to and studying the excerpt in Worksheet example 31\u20113, do the following:<\/p>\n<ul>\n<li>Identify all of the chromatic chords in this piece. Assuming a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_2246\">harmonic rhythm<\/a> of one chord per bar, which measures contain secondary dominants?<\/li>\n<li>Now provide a Roman numeral label (with figured bass as needed to show inversions) for each measure containing a secondary dominant and the measure following each one (the chords of resolution).<\/li>\n<li>What kind of cadence occurs in mm. 7\u20138? In mm. 15\u201316?<\/li>\n<li>There is a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_2131\">melodic sequence<\/a> beginning in m. 9. Identify the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_2132\">model<\/a> and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_2133\">leg<\/a>.<\/li>\n<li>There are 2 <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_4662\">six-four chords<\/a> in this excerpt. In which measures do they occur? And which type of six-four are they (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3004\">passing<\/a>, <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3007\">cadential<\/a>, or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3008\">pedal<\/a>) and why?<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 31\u20113. Franz Schubert, Originalt\u00e4nze, op. 9, no. 16, mm. 1\u201316<a class=\"footnote\" title=\"Example from https:\/\/musictheoryexamples.com\/ by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.\" id=\"return-footnote-748-5\" href=\"#footnote-748-5\" aria-label=\"Footnote 5\"><sup class=\"footnote\">[5]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image26-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image26-1.png\" width=\"1249\" height=\"1102\" alt=\"image of annotated score\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-19\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.3.mp3?_=19\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Maria Bergmann, on <a href=\"https:\/\/open.spotify.com\/track\/5F0e6GNUT2LGvGjxrTrLXI?si=5c41a1215ac849b0\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Austrian composer <strong>Franz Schubert<\/strong> (1797\u20131828) by reading this <a class=\"rId71\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.25109\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Maurice J. E. Brown and others.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">PART D. After listening and studying the excerpt in Worksheet example 31\u20114, identify the key, provide a Roman numeral analysis, and label all circled non-chord tones.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 31\u20114. Ludwig van Beethoven, Violin Sonata no. 6 in A major, mvt. 2, mm. 1\u20139<a class=\"footnote\" title=\"Example from https:\/\/musictheoryexamples.com\/ by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.\" id=\"return-footnote-748-6\" href=\"#footnote-748-6\" aria-label=\"Footnote 6\"><sup class=\"footnote\">[6]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image27-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image27-1.png\" width=\"1281\" height=\"586\" alt=\"image of score with blanks for key and Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image28-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image28-1.png\" width=\"1286\" height=\"576\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image29-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image29-1.png\" width=\"1318\" height=\"559\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-20\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.4.mp3?_=20\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by violinist Pamela Frank and pianist Claude Frank, on <a href=\"https:\/\/open.spotify.com\/track\/0RQ9uAKCsGUBHYttqzX5WB?si=9240eb81e9fc4d69\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p class=\"import-Normal\">Learn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId66\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40026\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Joseph Kerman and others.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">PART E. Study and listen to the excerpt in Worksheet example 31\u20115. Although the piece as a whole is in the key of G minor, we will interpret this passage in the key of B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major. Please provide Roman numerals for the chords numbered from 1 to 11 in the key of B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major. Pro tip: remember seventh chords can be <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_2963\">incomplete<\/a>!<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 31\u20115. Niccol\u00f2 Paganini, Caprice in G minor, op. 1 no. 6, mm. 11\u201314<a class=\"footnote\" title=\"Example from https:\/\/musictheoryexamples.com\/ by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.\" id=\"return-footnote-748-7\" href=\"#footnote-748-7\" aria-label=\"Footnote 7\"><sup class=\"footnote\">[7]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image30-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image30-1.png\" width=\"1429\" height=\"594\" alt=\"image of score with blanks for Roman numerals beneath staff in second system\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-21\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.5.mp3?_=21\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.5.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.5.mp3<\/a><\/audio><\/p>\n<p class=\"import-Normal\">Listen to the full track, performed by violinist Itzhak Perlman, on <a href=\"https:\/\/open.spotify.com\/track\/3McpYTmip1bqIKOQxas5vC?si=7bb303011fe149f2\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Italian virtuoso violinist and composer <strong>Niccol\u00f2 Paganini<\/strong> (1782\u20131840) by reading this <a class=\"rId72\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40008\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Edward Neill.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">PART F. Study and listen to Worksheet example 31\u20116. This excerpt uses the key signature of D major, but this portion is best analyzed in the key of C major. Please provide Roman numerals for each of the numbered chords in the key of C major.<\/p>\n<p class=\"import-Normal\">Identify the secondary dominants. Which secondary dominant resolves as you would expect? Which one doesn\u2019t, and why?<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 31\u20116. Pyotr Il&#8217;yich Tchaikovsky, Violin Concerto in D major, op. 35, mvt. 1, mm. 162\u201367<a class=\"footnote\" title=\"Example from https:\/\/musictheoryexamples.com\/ by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton.\" id=\"return-footnote-748-8\" href=\"#footnote-748-8\" aria-label=\"Footnote 8\"><sup class=\"footnote\">[8]<\/sup><\/a><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image31-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image31-1.png\" width=\"1429\" height=\"608\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image32-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image32-1.png\" width=\"1429\" height=\"566\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image33-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image33-1.png\" width=\"1429\" height=\"581\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-748-22\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.6.mp3?_=22\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.6.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-31.6.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by Itzhak Perlman and the Philadelphia Orchestra, conducted by Eugene Ormandy, on <a href=\"https:\/\/open.spotify.com\/track\/0V6V6fwKxTHDrsLLmgW432?si=4b9f161d6ed04814\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Russian composer <strong>Pyotr<\/strong><strong> Il&#8217;yich Tchaikovsky<\/strong> (1840\u20131893) by reading this <a class=\"rId73\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.51766\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Roland John Wiley.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex31.2-Analysis-with-secondary-dominants.pdf\" target=\"_blank\" rel=\"noopener\">Ex31.2 Analysis with secondary dominants<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId75\" href=\"https:\/\/open.spotify.com\/playlist\/4esy3W65RiuMWWi1aZuaP6?si=60a72297828c4e88\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Spotify playlist for secondary dominants<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Harmonic dictation with secondary dominants<\/h1>\n<p>To hone your aural skills, you can practice notating short progressions that use secondary dominants. To this end,<span><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/back-matter\/appendix-e-harmonic-dictations\/\" target=\"_blank\" rel=\"noopener\"> Appendix E<\/a>, nos 18\u201322, <\/span>contains dictations with these chords. To practice this skill, listen to each short progression up to four times with the goals of notating the soprano and bass voices, providing Roman numerals beneath the staff, and identifying the cadence. Some students find it helpful to listen for the chromatic chords and\/or secondary leading tones in the first or second hearing, marking the chords outside of the key and then determining the diatonic chord of resolution from the greater context. As with other harmonic dictation exercises we have done to date, all notes in the soprano and bass voices will be chord tones.<\/p>\n<h1><a><\/a>Voice leading with secondary dominants<\/h1>\n<p class=\"import-Normal\"><span>Secondary dominants are connected to their respective chords of resolution in the same way as diatonic dominant sevenths. If you need a reminder of these principles, review the section of <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/satb-part-writing\/\">Chapter 25<\/a> titled \u201cVoice leading with V7 and its inversions.\u201d<\/span><\/p>\n<p class=\"import-Normal\">The following summarizes best practices for resolving secondary dominants:<\/p>\n<ul>\n<li>Since the seventh of the V7 is considered a dissonance, it needs special preparation. When possible, prepare the seventh by the same note; otherwise, use stepwise motion.<\/li>\n<li>Resolve the seventh of the chord down by step to the third of the resolution chord.<\/li>\n<li>Resolve the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_3480\">secondary leading tone<\/a>, which is the third of the chord, up by step to the root of the resolution chord, unless it appears in an inner voice, in which case you may \u201c<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_2900\">frustrate<\/a>\u201d it.<\/li>\n<li>Resolve all other voices using same-note or stepwise motion whenever possible.<\/li>\n<li>For all inverted seventh chords, both the secondary dominant and chord of resolution should be complete (no omitted fifths).<\/li>\n<\/ul>\n<p class=\"import-Normal\">When resolving root-position secondary dominants to root-position chords of resolution, three models are possible, illustrated in Example 31\u20119:<\/p>\n<ul>\n<li>Bar 1: Complete seventh chord to complete triad (requires frustrating the secondary leading tone, possible only if the leading tone is in the alto or tenor voice)<\/li>\n<li>Bar 2: Incomplete seventh chord to complete triad (allows secondary leading tone to resolve up)<\/li>\n<li>Bar 3: Complete seventh chord to incomplete triad (allows secondary leading tone to resolve up)<\/li>\n<\/ul>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 31\u20119. Three models for resolving root-position secondary dominants<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-1024x337.png\" alt=\"image of Grand Staff with three resolutions of five-seven-of-five to five. First resolution: soprano is B4 to A4, alto is D4 to C-sharp 4, tenor is frustrated from G-sharp 3 to E3, and bass is E3 to A2. Second resolution: soprano is G-sharp 4 to A4, alto is D4 to C-sharp 4, tenor stays on E3, and bass is E3 to A2. Third resolution: soprano is B4 to A4, alto is D4 to C-sharp 4, tenor is G-sharp 3 to A3, and bass is E3 to A2.\" width=\"1024\" height=\"337\" class=\"alignnone wp-image-3536 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-1024x337.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-300x99.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-768x253.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-1536x505.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-2048x674.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-225x74.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-31.9-350x115.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T58 Part writing with secondary dominants (10:54)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-6\" title=\"T58 Part Writing with Secondary Dominants\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/c1Ivvaf_MZw?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video walks you through three possible resolutions of a root position secondary dominant (Example 31-9).<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 31-3 Part writing with secondary dominants<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 31-3 Part writing with secondary dominants<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Provide a key signature for each progression and realize each two-chord progression in four parts (<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_748_2799\">SATB<\/a>), following these guidelines:<\/p>\n<p class=\"import-Normal\">For all root-position seventh chords, choose one of the following resolution patterns and label which type of resolution you have chosen above the staff:<\/p>\n<ul>\n<li>Complete seventh chord to complete triad (requires frustrating the secondary leading tone, possible only if the leading tone is in the alto or tenor voice)<\/li>\n<li>Incomplete seventh chord to complete triad (allows secondary leading tone to resolve up)<\/li>\n<li>Complete seventh chord to incomplete triad (allows secondary leading tone to resolve up)<\/li>\n<\/ul>\n<p>SET 1<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image35-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image35-1.png\" width=\"1429\" height=\"440\" alt=\"image of blank Grand staff with four bars. Labels beneath staff read D major: five-seven-of-five to five; F minor: five-seven-of-five to five; E major: five-six-five-of-five to five; C minor: five-four-three-of-six to six\" class=\"alignnone\" \/><\/a><\/p>\n<p>SET 2<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image36-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image36-1.png\" width=\"1429\" height=\"434\" alt=\"image of blank Grand staff with four bars. Labels beneath staff read A-flat major: five-seven-of-six to six; F major: five-four-two-of-four to four-six; E minor: five-six-five-of-four to four; A major: five-four-three-of-two to two\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex31.3-Part-writing-with-secondary-dominants.pdf\">Ex31.3 Part writing with secondary dominants<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 31-4 Error detection with secondary dominants part writing<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 31-4 Error detection with secondary dominants part writing<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">There\u2019s something wrong with each of these. Your mission is to figure out what is wrong and how to fix it. Create a better solution on a separate piece of staff paper.<\/p>\n<p class=\"import-Normal\">(1)<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image37-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image37-1.png\" width=\"452\" height=\"345\" alt=\"image of Grand Staff. Key signature is four flats. Labels beneath staff read F minor: five-seven-of-five to five. Soprano is B-flat 4 to C5, alto is F4 to E-flat 4, tenor is D-flat 4 to C, bass is G2 to C3\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">(2)<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image38-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image38-1.png\" width=\"452\" height=\"351\" alt=\"image of Grand Staff. Key signature is four sharps. Labels beneath staff read E major: five-six-five-of-five to five. Soprano is C-sharp 5 to B4, alto stays on F4, tenor is E3 to D3, bass is A-sharp 2 to B2\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\">(3)<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image39-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image39-1.png\" width=\"452\" height=\"355\" alt=\"image of Grand Staff. Key signature is three sharps. Labels beneath staff read A major: five-four-three-of-two to two. Soprano is E5 to D5, alto is F-sharp 4 to B4, tenor is A-sharp 3 to F-sharp 3, bass is C-sharp 3 to B2\" class=\"alignnone\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex31.4-Error-detection-with-secondary-dominants-part-writing.pdf\" target=\"_blank\" rel=\"noopener\">Ex31.4 Error detection with secondary dominants part writing<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 31<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId76\" href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/tonicization\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">John Peterson and Megan Lavengood\u2019s chapter on tonicization<\/span><\/a><span class=\"import-Hyperlink\">\u00a0(Open Music Theory)<\/span><\/p>\n<p class=\"import-Normal\"><a class=\"rId77\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/27-applied-chords\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount\u2019s chapter on applied chords<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId78\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/SecondaryDominants.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson\u2019s chapter on secondary dominants<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-748-1\"><span id=\"output\" class=\"outputbox\"><a href=\"https:\/\/s9.imslp.org\/files\/imglnks\/usimg\/8\/87\/IMSLP360278-PMLP34746-Haydn;_Symphony_94_Corrected.pdf\" target=\"_blank\" rel=\"noopener\">\"Symphony No.94 in G major, Hob.I:94 (Haydn, Joseph)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Feller,_Paul-Gustav\" target=\"_blank\" rel=\"noopener\">Paul-Gustav Feller<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/4.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC 4.0<\/a>. Annotations are mine.<a><\/a><\/span> <a href=\"#return-footnote-748-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-748-2\"><span class=\"outputbox\"><a href=\"http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/9\/9f\/IMSLP24498-PMLP01582-CCARHBeethovensymphony1.pdf\" target=\"_blank\" rel=\"noopener\">\"Symphony No.1, Op.21 (Beethoven, Ludwig van)\"<\/a> by <a href=\"https:\/\/imslp.org\/wiki\/Category:Team,_CCARH\" target=\"_blank\" rel=\"noopener\">CCARH Team<\/a><a><\/a><a><\/a> is licensed under <a href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/3.0\" target=\"_blank\" rel=\"noopener\">CC BY-NC 3.0<\/a>. <a><\/a><\/span>Annotations are mine. <a href=\"#return-footnote-748-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><li id=\"footnote-748-3\">Example from <a href=\"https:\/\/www.expandingthemusictheorycanon.com\/wp-content\/uploads\/2021\/02\/SD_Boulogne_String-Quartet-No.-4-in-C-Minor-Op.-1_Allegro-Moderato.pdf\" target=\"_blank\" rel=\"noopener\">https:\/\/www.expandingthemusictheorycanon.com\/wp-content\/uploads\/2021\/02\/SD_Boulogne_String-Quartet-No.-4-in-C-Minor-Op.-1_Allegro-Moderato.pdf<\/a> <a href=\"#return-footnote-748-3\" class=\"return-footnote\" aria-label=\"Return to footnote 3\">&crarr;<\/a><\/li><li id=\"footnote-748-4\">Example from https:\/\/musictheoryexamples.com\/ by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton. <a href=\"#return-footnote-748-4\" class=\"return-footnote\" aria-label=\"Return to footnote 4\">&crarr;<\/a><\/li><li id=\"footnote-748-5\">Example from <a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a> by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton. <a href=\"#return-footnote-748-5\" class=\"return-footnote\" aria-label=\"Return to footnote 5\">&crarr;<\/a><\/li><li id=\"footnote-748-6\">Example from <a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a> by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton. <a href=\"#return-footnote-748-6\" class=\"return-footnote\" aria-label=\"Return to footnote 6\">&crarr;<\/a><\/li><li id=\"footnote-748-7\">Example from <a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a> by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton. <a href=\"#return-footnote-748-7\" class=\"return-footnote\" aria-label=\"Return to footnote 7\">&crarr;<\/a><\/li><li id=\"footnote-748-8\">Example from <a href=\"https:\/\/musictheoryexamples.com\/\" target=\"_blank\" rel=\"noopener\">https:\/\/musictheoryexamples.com\/<\/a> by Timothy Cutler (accessed July 6, 2020). Website no longer available; the author's examples now appear in an anthology published by W.W. Norton. <a href=\"#return-footnote-748-8\" class=\"return-footnote\" aria-label=\"Return to footnote 8\">&crarr;<\/a><\/li><\/ol><\/div><div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_748_3445\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_3445\"><div tabindex=\"-1\"><p>any chord that temporarily functions as a dominant to a diatonic major or minor chord that is not tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_2509\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_2509\"><div tabindex=\"-1\"><p>system of associating pitches with syllables, also referred to as \"solmization\"; with movable-do solfege, the major scale uses \"do,\" \"re,\" \"mi,\" \"fa,\" \"sol,\" \"la,\" and \"ti,\" and \"do\" is always tonic; with fixed-do solfege, \"do\" is always C<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_345\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_345\"><div tabindex=\"-1\"><p>term referring to notes within a key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_346\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_346\"><div tabindex=\"-1\"><p>term referring to notes outside of a key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_3447\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_3447\"><div tabindex=\"-1\"><p>process in which a secondary dominant appears, temporarily destabilizing the tonic key and resolving to a different, albeit momentary, new tonic<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_2963\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_2963\"><div tabindex=\"-1\"><p>a triad that has the root and third, but omits the fifth; or a seventh chord that has the root, third, and seventh, but omits the fifth<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_1712\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_1712\"><div tabindex=\"-1\"><p>position of a chord when its seventh is the lowest sounding note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_3480\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_3480\"><div tabindex=\"-1\"><p>in a secondary dominant chord, the leading tone of the tonicized key<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_1711\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_1711\"><div tabindex=\"-1\"><p>position of a chord when its fifth is the lowest sounding note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_3004\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_3004\"><div tabindex=\"-1\"><p>type of second inversion triad whose bass note is preceded by step and resolved by step in the same direction<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_3007\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_3007\"><div tabindex=\"-1\"><p>type of second inversion triad that has scale degree 5 in the bass and resolves to a dominant chord, extending dominant function, usually at a cadence<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_3008\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_3008\"><div tabindex=\"-1\"><p>type of second inversion triad with an embellishing function by keeping the bass note of the chord preceding and following it<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_2246\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_2246\"><div tabindex=\"-1\"><p>the rate of chord change<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_2131\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_2131\"><div tabindex=\"-1\"><p>process in which a portion of music (both intervallic and rhythmic content) is successively replicated at a different pitch level<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_2132\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_2132\"><div tabindex=\"-1\"><p>with regard to melodic sequence, the first iteration of sequential material<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_2133\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_2133\"><div tabindex=\"-1\"><p>with regard to melodic sequence, term referring to each subsequent iteration of sequential material, following the initial model<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_4662\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_4662\"><div tabindex=\"-1\"><p>triad in second inversion, meaning the fifth of the chord is the lowest sounding note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_2900\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_2900\"><div tabindex=\"-1\"><p>part-writing process in which instead of the leading tone resolving up to tonic, it resolves to the fifth of the tonic chord (scale degree 7 goes to 5 instead of 1), possible only when the leading tone is in an inner voice (alto or tenor)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_748_2799\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_748_2799\"><div tabindex=\"-1\"><p>abbreviation for four-voice music, referring to soprano, alto, tenor, bass; may apply to choral music or instrumental music in four parts<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":31,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-748","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/748","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":105,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/748\/revisions"}],"predecessor-version":[{"id":7200,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/748\/revisions\/7200"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/748\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=748"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=748"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=748"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=748"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}