{"id":763,"date":"2023-05-24T16:04:02","date_gmt":"2023-05-24T16:04:02","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/secondary-diminished-chords\/"},"modified":"2025-08-18T22:03:28","modified_gmt":"2025-08-18T22:03:28","slug":"secondary-diminished-chords","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/secondary-diminished-chords\/","title":{"raw":"Secondary diminished chords","rendered":"Secondary diminished chords"},"content":{"raw":"<div class=\"secondary-diminished-chords\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 32<\/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>How to spell [pb_glossary id=\"3593\"]secondary diminished chords[\/pb_glossary]<\/li>\r\n \t<li>How to identify secondary diminished chords in context<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Secondary diminished chords\"><\/a>Secondary diminished chords<\/h1>\r\n<p class=\"import-Normal\">Just as [pb_glossary id=\"3445\"]secondary dominants[\/pb_glossary] tonicize any non-tonic major or minor triad, so do [pb_glossary id=\"3593\"]secondary diminished chords[\/pb_glossary], which are built on the [pb_glossary id=\"3480\"]secondary leading tone[\/pb_glossary] of the tonicized key. Like secondary dominants, secondary diminished chords can be triads or seventh chords, and they may appear in any inversion.<\/p>\r\n<p class=\"import-Normal\">Some common secondary diminished chords are shown in the progressions in Example 32\u20111 and Example 32\u20112. After listening to each example, provide a Roman numeral analysis. The first four chords are completed for you in Example 32\u20111.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 32\u20111. Secondary diminished chords in major<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><span>[h5p id=\"68\"]<\/span>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.1.mp3\"][\/audio]\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 32\u20112. Secondary diminished chords in minor<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<span>[h5p id=\"69\"]<\/span>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.2.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Spelling secondary diminished chords\"><\/a>Spelling secondary diminished chords<\/h1>\r\n<p class=\"import-Normal\">Follow these steps for success in spelling secondary diminished chords:<\/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 leading tone of the temporarily tonicized key identified in step 1. It may be helpful to remember that the secondary leading tone is always a diatonic half step below the temporary tonic. This is the [pb_glossary id=\"1461\"]root[\/pb_glossary] of the secondary diminished chord.<\/p>\r\n<p style=\"padding-left: 40px\"><strong>Step 4. <\/strong>Given the root identified in step 3, spell a diminished chord, which will be a triad or seventh depending on the specified quality.<\/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. If the chord is inverted, be sure to put the proper chord tone in the bass.<\/p>\r\nFigure 32-1 illustrates how to work through the process of spelling the viio7\/ii in G major.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 32\u20111. Illustration of spelling a secondary diminished chord<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Goal: to spell the viio7\/ii in G major.<\/p>\r\n\r\n<ul>\r\n \t<li>In G major, the root of the ii chord is A.<\/li>\r\n \t<li>Temporarily disregard the key of G major.<\/li>\r\n \t<li>The secondary leading tone of A is G[latex]\\sharp[\/latex].<\/li>\r\n \t<li>Since a fully diminished seventh chord is specified, the chord is spelled entirely with minor thirds: G[latex]\\sharp[\/latex] B D F[latex]\\natural[\/latex].<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">Spelling the chord in G major would look like this:<\/p>\r\n<p class=\"import-Normal\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image45-1.png\" width=\"223\" height=\"116\" alt=\"image of chord on staff in bass clef. Key signature is one sharp. Notes include G-sharp 2, B2, D3, F-natural 3\" class=\"aligncenter\" \/><\/p>\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: T59 Secondary diminished chords (12:03)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/PGtdU2DWtCA?si=g3o0G83nSvbawdsH\r\n<p class=\"import-Normal\">This interactive video introduces the concept of secondary diminished chords, which are built on the secondary leading tone of the tonicized major or minor triad. We study two chord progressions, one in major and another in minor (Example 32\u20111 and Example 32\u20112), labeling each secondary chord and listening to how they sound in the context of each progression.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Secondary chords in context\"><\/a>Secondary chords in context<\/h1>\r\n<p class=\"import-Normal\">Example 32\u20113 features several secondary chords. The first, a secondary diminished seventh chord (B[latex]\\sharp[\/latex] dim. 7), occurs in m. 5 and tonicizes the supertonic triad that follows in the next measure. A secondary dominant (B7) tonicizing the subdominant triad occurs in mm. 10 and 14. Both of these chords contain [pb_glossary id=\"346\"]chromatic[\/pb_glossary] notes outside of the home key of B major.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 32\u20113. Transcription of Beyonc\u00e9, \u201cPray You Catch Me,\u201d 1:28\u20132:08<\/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\/image46-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image46-1.png\" width=\"1430\" height=\"1005\" alt=\"image of score with lead sheet symbols, melody with key signature of five sharps, and Roman numerals labeled beneath staff\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.3.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7rLDARtJALM7QdiJDMXW7m?si=08d173052e864dad\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about <strong>Beyonc\u00e9<\/strong> (b. 1981) by reading this <a class=\"rId95\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2224701\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Anthony Neal.\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Similarly, Example 32\u20114 features many compelling secondary chords. In mm. 1 and 9, a secondary dominant tonicizes the submediant triad. In mm. 2 and 10, a secondary dominant tonicizes the subdominant chord. In m. 7, a secondary dominant tonicizes the dominant triad. Secondary diminished triads built on scale degree [latex]\\sharp\\hat{4}[\/latex] (fi) in mm. 12 and 14 tonicize dominant function, as each resolves to a [pb_glossary id=\"3007\"]cadential six-four[\/pb_glossary]. And in m. 13, a secondary diminished chord tonicizes the submediant chord.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 32\u20114. Transcription of Nina Simone singing Billy Taylor, \u201cI Wish I Knew How It Would Feel to Be Free,\u201d 0:32\u20131:04<\/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\/ex-32.4-I-wish-I-knew-rev.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-1024x745.png\" alt=\"lead sheet in B-flat major. Roman numerals labeled beneath staff\" width=\"1024\" height=\"745\" class=\"alignnone wp-image-3611 size-large\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.4.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/617BX2z1ctbswU1xjU3LRW?si=f55518b5eaa74ba3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer, pianist, and activist <strong>Nina Simone<\/strong> (1933\u20132003) by reading this <a class=\"rId96\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2258277\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Anthony Neal.\r\n\r\nLearn about American jazz pianist and composer <strong>Billy Taylor<\/strong> (1921\u20132010) by reading this <a class=\"rId97\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2258512\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Bill Bennett.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 32-1 Spelling secondary chords\"><\/a>EXERCISE 32-1 Spelling secondary chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 32-1 Spelling secondary chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">Spell the secondary dominants and diminished chords below. For each problem, provide the key signature of the tonic key and spell the chord using accidentals as needed.<\/p>\r\n<p class=\"import-Normal\" style=\"text-indent: 18pt\">SET 1<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image48-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image48-1.png\" width=\"1430\" height=\"218\" alt=\"image of blank staff with treble clef. Symbols beneath staff read A major: seven-fully-diminished-seven of five; F minor: seven-fully-diminished-seven of three; D minor: five-seven of four; E-flat major: seven-fully-diminished-seven of two; G major: seven-diminished-six of five \" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"text-indent: 18pt\">SET 2<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image49-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image49-1.png\" width=\"1430\" height=\"171\" alt=\"image of blank staff with bass clef. Symbols beneath staff read C minor: seven-fully-diminished-seven of uppercase seven; F major: five-seven of six; D major: seven-diminished-six of six; E minor: five-seven of five; A-flat major: seven-diminished-six of four \" class=\"alignnone\" \/><\/a><\/p>\r\n<p class=\"import-Normal\" style=\"text-indent: 18pt\">SET 3<\/p>\r\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image50.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image50.png\" width=\"1430\" height=\"219\" alt=\"image of blank staff with treble clef. Symbols beneath staff read D-flat major: five-seven of three; B minor: seven-fully-diminished-seven of five; C major: seven-fully-diminished-seven of six; F-sharp minor: seven-diminished-six of six; B-flat major: seven-diminished-six of 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\/Ex32.1-Spelling-secondary-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex32.1 Spelling secondary chords<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 32-2 Analysis with secondary chords\"><\/a>EXERCISE 32-2 Analysis with secondary chords<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 32-2 Analysis with secondary chords<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">PART A. After studying and listening to Worksheet example 32\u20111, identify the key, provide a Roman numeral analysis, and circle and label by type all [pb_glossary id=\"4662\"]six-four chords[\/pb_glossary] and [pb_glossary id=\"2863\"]non-chord tones[\/pb_glossary]. Then create a form (bubble) diagram showing measure numbers, cadences, and phrase labels with lowercase letters, and answer the question that follows. To review how to create a form (bubble) diagram, see <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/phrases-periods\/\" target=\"_blank\" rel=\"noopener\">Chapter 19<\/a>.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 32\u20111. Ludwig van Beethoven, Sonatina no. 37 in G major, mvt. 2, mm. 1\u20138<\/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\/image51-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image51-1.png\" width=\"1429\" height=\"588\" alt=\"image of score with blanks beneath staff for key and Roman numerals\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-32.1.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Jen\u00f6 Jand\u00f3, on <a href=\"https:\/\/open.spotify.com\/track\/4Qti64FMRAgdd5qno1mDEe?si=42b08860398140f7\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about German composer <strong>Ludwig van Beethoven<\/strong> (1770\u20131827) by reading this <a class=\"rId98\" 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<p class=\"import-Normal\">Question: What two-word phrase best describes the form of Worksheet example 32\u20111, and why?<\/p>\r\n<p class=\"import-Normal\">PART B. After studying and listening to Worksheet example 32\u20112, identify the key and provide a Roman numeral analysis. All non-chord tones are circled in this example. Label each by type. Finally, circle and label all [pb_glossary id=\"4662\"]six-four chords[\/pb_glossary] by type.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 32\u20112. Maria Wolowska Szymanowska, Nocturne, mm. 1\u20135<\/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\/image52.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image52.png\" width=\"1355\" height=\"358\" alt=\"image of score with blanks for key and Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image53.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image53.png\" width=\"1382\" height=\"345\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-32.2.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by pianist Nancy Fierro, on <a href=\"https:\/\/open.spotify.com\/track\/5F0df73incptwaorNymTq4?si=5893ab381dc949b3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about Polish pianist and composer <strong>Maria <\/strong><strong>Wolowska<\/strong> <strong>Szymanowska<\/strong> (1789\u20131831) by reading this <a class=\"rId99\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.27327\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Zofia Chechli\u0144ska.\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\/Ex32.2-Analysis-with-secondary-chords.pdf\">Ex32.2 Analysis with secondary chords<\/a><\/div>\r\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId100\" href=\"https:\/\/open.spotify.com\/playlist\/6wTamx2lPHiihVXWwjVrL0?si=b13a3ed8525c4f06\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Secondary diminished chords playlist<\/span><\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Chromatic pitch patterns\"><\/a>Chromatic pitch patterns<\/h1>\r\n<p class=\"import-Normal\">Example 32\u20115 shows the solfege syllables for all chromatic pitches, which we first encountered in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/minor-scales-key-signatures\/\" target=\"_blank\" rel=\"noopener\">Chapter 6<\/a>. Enharmonically equivalent notes have different syllables depending on if the scale degree is raised or lowered. In general, raised chromatic notes use a \u201clong e\u201d \/i\/ vowel sound, and lowered chromatic notes use a \u201clong a\u201d \/eI\/ vowel sound (with the exception of \"ra,\" lowered scale degree [latex]\\hat{2}[\/latex], which we encountered in the [pb_glossary id=\"1195\"]phrygian[\/pb_glossary] scale).<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 32\u20115. Solfege syllables for all chromatic pitches<\/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\/image54-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image54-1.png\" width=\"1149\" height=\"366\" alt=\"image of ascending C chromatic scale written in tenor clef, annotated with solfege syllables: do di re ri mi fa fi sol si la li ti do. Second system is image of descending C chromatic scale written in tenor clef: do ti te la le sol se fa mi me re ra do\" class=\"alignnone\" \/><\/a><\/p>\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: S32 Chromatic solfege syllables (3:10)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/vptOqgtYSlE?si=BzktyZctQBg0wDzY\r\n<p class=\"import-Normal\">This interactive video introduces the movable-do [pb_glossary id=\"2509\"]solfege[\/pb_glossary] syllables and hand signs for the chromatic scale, with the tonic of B[latex]\\flat[\/latex].<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<p class=\"import-Normal\">Practice singing, playing, and aurally <span style=\"font-size: 18.6667px\">identifying <\/span><span style=\"font-size: 14pt\">the pitch patterns that appear below in Figure 32\u20112 (pitch patterns in major) and Figure 32\u20113 (pitch patterns in minor) in various keys. In cases that may seem ambiguous, superscripts (<\/span><sup>1<\/sup><span style=\"font-size: 14pt\">) indicate a pitch in the higher octave (above the previous note), while subscripts (<\/span><sub>1<\/sub><span style=\"font-size: 14pt\">) indicate a pitch in the lower octave (below the previous note).<\/span><\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 32\u20112. Chromatic pitch patterns in major<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><small><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2-1024x633.png\" alt=\"chart listing pitch patterns in solfege\" width=\"1024\" height=\"633\" class=\"alignnone wp-image-3636 size-large\" \/><\/a><\/small><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-32.2.pdf\" target=\"_blank\" rel=\"noopener\">Figure 32.2<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 32\u20113. Chromatic pitch patterns in minor<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><small><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3-1024x440.png\" alt=\"chart listing pitch patterns in solfege\" width=\"1024\" height=\"440\" class=\"alignnone wp-image-3637 size-large\" \/><\/a><\/small><\/p>\r\n\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-32.3.pdf\" target=\"_blank\" rel=\"noopener\">Figure 32.3<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Self-quiz on solfege thinking problems<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><span>[h5p id=\"70\"]<\/span><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"secondary-diminished-chords\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 32<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How to spell <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_3593\">secondary diminished chords<\/a><\/li>\n<li>How to identify secondary diminished chords in context<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a><\/a>Secondary diminished chords<\/h1>\n<p class=\"import-Normal\">Just as <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_3445\">secondary dominants<\/a> tonicize any non-tonic major or minor triad, so do <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_3593\">secondary diminished chords<\/a>, which are built on the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_3480\">secondary leading tone<\/a> of the tonicized key. Like secondary dominants, secondary diminished chords can be triads or seventh chords, and they may appear in any inversion.<\/p>\n<p class=\"import-Normal\">Some common secondary diminished chords are shown in the progressions in Example 32\u20111 and Example 32\u20112. After listening to each example, provide a Roman numeral analysis. The first four chords are completed for you in Example 32\u20111.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 32\u20111. Secondary diminished chords in major<\/p>\n<\/header>\n<div class=\"textbox__content\"><span><\/p>\n<div id=\"h5p-68\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-68\" class=\"h5p-iframe\" data-content-id=\"68\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Example 32-1\"><\/iframe><\/div>\n<\/div>\n<p><\/span><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-763-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.1.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.1.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 32\u20112. Secondary diminished chords in minor<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><span><\/p>\n<div id=\"h5p-69\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-69\" class=\"h5p-iframe\" data-content-id=\"69\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Example 32-2\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-763-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.2.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.2.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Spelling secondary diminished chords<\/h1>\n<p class=\"import-Normal\">Follow these steps for success in spelling secondary diminished chords:<\/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 leading tone of the temporarily tonicized key identified in step 1. It may be helpful to remember that the secondary leading tone is always a diatonic half step below the temporary tonic. This is the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_1461\">root<\/a> of the secondary diminished chord.<\/p>\n<p style=\"padding-left: 40px\"><strong>Step 4. <\/strong>Given the root identified in step 3, spell a diminished chord, which will be a triad or seventh depending on the specified quality.<\/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. If the chord is inverted, be sure to put the proper chord tone in the bass.<\/p>\n<p>Figure 32-1 illustrates how to work through the process of spelling the viio7\/ii in G major.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 32\u20111. Illustration of spelling a secondary diminished chord<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Goal: to spell the viio7\/ii in G major.<\/p>\n<ul>\n<li>In G major, the root of the ii chord is A.<\/li>\n<li>Temporarily disregard the key of G major.<\/li>\n<li>The secondary leading tone of A 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>Since a fully diminished seventh chord is specified, the chord is spelled entirely with minor thirds: 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 D 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;\" \/>.<\/li>\n<\/ul>\n<p class=\"import-Normal\">Spelling the chord in G major would look like this:<\/p>\n<p class=\"import-Normal\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image45-1.png\" width=\"223\" height=\"116\" alt=\"image of chord on staff in bass clef. Key signature is one sharp. Notes include G-sharp 2, B2, D3, F-natural 3\" class=\"aligncenter\" \/><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T59 Secondary diminished chords (12:03)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T59 Secondary Diminished Chords\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/PGtdU2DWtCA?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video introduces the concept of secondary diminished chords, which are built on the secondary leading tone of the tonicized major or minor triad. We study two chord progressions, one in major and another in minor (Example 32\u20111 and Example 32\u20112), labeling each secondary chord and listening to how they sound in the context of each progression.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Secondary chords in context<\/h1>\n<p class=\"import-Normal\">Example 32\u20113 features several secondary chords. The first, a secondary diminished seventh chord (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;\" \/> dim. 7), occurs in m. 5 and tonicizes the supertonic triad that follows in the next measure. A secondary dominant (B7) tonicizing the subdominant triad occurs in mm. 10 and 14. Both of these chords contain <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_346\">chromatic<\/a> notes outside of the home key of B major.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 32\u20113. Transcription of Beyonc\u00e9, \u201cPray You Catch Me,\u201d 1:28\u20132:08<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image46-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image46-1.png\" width=\"1430\" height=\"1005\" alt=\"image of score with lead sheet symbols, melody with key signature of five sharps, and Roman numerals labeled beneath staff\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-763-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.3.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.3.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.3.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7rLDARtJALM7QdiJDMXW7m?si=08d173052e864dad\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about <strong>Beyonc\u00e9<\/strong> (b. 1981) by reading this <a class=\"rId95\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2224701\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Anthony Neal.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Similarly, Example 32\u20114 features many compelling secondary chords. In mm. 1 and 9, a secondary dominant tonicizes the submediant triad. In mm. 2 and 10, a secondary dominant tonicizes the subdominant chord. In m. 7, a secondary dominant tonicizes the dominant triad. Secondary diminished triads built on scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ca9f0dc3f1319e1d5f5ed1e52dc8cd13_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;&#92;&#104;&#97;&#116;&#123;&#52;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"20\" width=\"16\" style=\"vertical-align: -4px;\" \/> (fi) in mm. 12 and 14 tonicize dominant function, as each resolves to a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_3007\">cadential six-four<\/a>. And in m. 13, a secondary diminished chord tonicizes the submediant chord.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 32\u20114. Transcription of Nina Simone singing Billy Taylor, \u201cI Wish I Knew How It Would Feel to Be Free,\u201d 0:32\u20131:04<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-1024x745.png\" alt=\"lead sheet in B-flat major. Roman numerals labeled beneath staff\" width=\"1024\" height=\"745\" class=\"alignnone wp-image-3611 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-1024x745.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-300x218.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-768x559.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-1536x1117.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-2048x1490.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-65x47.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-225x164.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/ex-32.4-I-wish-I-knew-rev-350x255.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-763-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.4.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-32.4.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/617BX2z1ctbswU1xjU3LRW?si=f55518b5eaa74ba3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer, pianist, and activist <strong>Nina Simone<\/strong> (1933\u20132003) by reading this <a class=\"rId96\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2258277\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Mark Anthony Neal.<\/p>\n<p>Learn about American jazz pianist and composer <strong>Billy Taylor<\/strong> (1921\u20132010) by reading this <a class=\"rId97\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.A2258512\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Bill Bennett.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 32-1 Spelling secondary chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 32-1 Spelling secondary chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">Spell the secondary dominants and diminished chords below. For each problem, provide the key signature of the tonic key and spell the chord using accidentals as needed.<\/p>\n<p class=\"import-Normal\" style=\"text-indent: 18pt\">SET 1<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image48-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image48-1.png\" width=\"1430\" height=\"218\" alt=\"image of blank staff with treble clef. Symbols beneath staff read A major: seven-fully-diminished-seven of five; F minor: seven-fully-diminished-seven of three; D minor: five-seven of four; E-flat major: seven-fully-diminished-seven of two; G major: seven-diminished-six of five\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"text-indent: 18pt\">SET 2<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image49-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image49-1.png\" width=\"1430\" height=\"171\" alt=\"image of blank staff with bass clef. Symbols beneath staff read C minor: seven-fully-diminished-seven of uppercase seven; F major: five-seven of six; D major: seven-diminished-six of six; E minor: five-seven of five; A-flat major: seven-diminished-six of four\" class=\"alignnone\" \/><\/a><\/p>\n<p class=\"import-Normal\" style=\"text-indent: 18pt\">SET 3<\/p>\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image50.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image50.png\" width=\"1430\" height=\"219\" alt=\"image of blank staff with treble clef. Symbols beneath staff read D-flat major: five-seven of three; B minor: seven-fully-diminished-seven of five; C major: seven-fully-diminished-seven of six; F-sharp minor: seven-diminished-six of six; B-flat major: seven-diminished-six of 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\/Ex32.1-Spelling-secondary-chords.pdf\" target=\"_blank\" rel=\"noopener\">Ex32.1 Spelling secondary chords<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 32-2 Analysis with secondary chords<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 32-2 Analysis with secondary chords<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">PART A. After studying and listening to Worksheet example 32\u20111, identify the key, provide a Roman numeral analysis, and circle and label by type all <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_4662\">six-four chords<\/a> and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_2863\">non-chord tones<\/a>. Then create a form (bubble) diagram showing measure numbers, cadences, and phrase labels with lowercase letters, and answer the question that follows. To review how to create a form (bubble) diagram, see <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/phrases-periods\/\" target=\"_blank\" rel=\"noopener\">Chapter 19<\/a>.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 32\u20111. Ludwig van Beethoven, Sonatina no. 37 in G major, mvt. 2, mm. 1\u20138<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image51-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image51-1.png\" width=\"1429\" height=\"588\" alt=\"image of score with blanks beneath staff for key and Roman numerals\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-763-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-32.1.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-32.1.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-32.1.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Jen\u00f6 Jand\u00f3, on <a href=\"https:\/\/open.spotify.com\/track\/4Qti64FMRAgdd5qno1mDEe?si=42b08860398140f7\" 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=\"rId98\" 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\">Question: What two-word phrase best describes the form of Worksheet example 32\u20111, and why?<\/p>\n<p class=\"import-Normal\">PART B. After studying and listening to Worksheet example 32\u20112, identify the key and provide a Roman numeral analysis. All non-chord tones are circled in this example. Label each by type. Finally, circle and label all <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_4662\">six-four chords<\/a> by type.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 32\u20112. Maria Wolowska Szymanowska, Nocturne, mm. 1\u20135<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image52.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image52.png\" width=\"1355\" height=\"358\" alt=\"image of score with blanks for key and Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image53.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image53.png\" width=\"1382\" height=\"345\" alt=\"image of score with blanks for Roman numerals beneath staff\" class=\"alignnone\" \/><\/a><small><\/small><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-763-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-32.2.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-32.2.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-32.2.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by pianist Nancy Fierro, on <a href=\"https:\/\/open.spotify.com\/track\/5F0df73incptwaorNymTq4?si=5893ab381dc949b3\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about Polish pianist and composer <strong>Maria <\/strong><strong>Wolowska<\/strong> <strong>Szymanowska<\/strong> (1789\u20131831) by reading this <a class=\"rId99\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.27327\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music Online article<\/span><\/a>, written by Zofia Chechli\u0144ska.<\/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\/Ex32.2-Analysis-with-secondary-chords.pdf\">Ex32.2 Analysis with secondary chords<\/a><\/div>\n<div class=\"textbox shaded\">Listen to the audio examples featured in this exercise here: <a class=\"rId100\" href=\"https:\/\/open.spotify.com\/playlist\/6wTamx2lPHiihVXWwjVrL0?si=b13a3ed8525c4f06\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Secondary diminished chords playlist<\/span><\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Chromatic pitch patterns<\/h1>\n<p class=\"import-Normal\">Example 32\u20115 shows the solfege syllables for all chromatic pitches, which we first encountered in <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/minor-scales-key-signatures\/\" target=\"_blank\" rel=\"noopener\">Chapter 6<\/a>. Enharmonically equivalent notes have different syllables depending on if the scale degree is raised or lowered. In general, raised chromatic notes use a \u201clong e\u201d \/i\/ vowel sound, and lowered chromatic notes use a \u201clong a\u201d \/eI\/ vowel sound (with the exception of &#8220;ra,&#8221; lowered scale degree <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-af5002d4be0497c609d44f228fde7f2a_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#50;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/>, which we encountered in the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_1195\">phrygian<\/a> scale).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 32\u20115. Solfege syllables for all chromatic pitches<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image54-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image54-1.png\" width=\"1149\" height=\"366\" alt=\"image of ascending C chromatic scale written in tenor clef, annotated with solfege syllables: do di re ri mi fa fi sol si la li ti do. Second system is image of descending C chromatic scale written in tenor clef: do ti te la le sol se fa mi me re ra do\" class=\"alignnone\" \/><\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: S32 Chromatic solfege syllables (3:10)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-2\" title=\"S32 Chromatic Solfege Syllables\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/vptOqgtYSlE?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This interactive video introduces the movable-do <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_763_2509\">solfege<\/a> syllables and hand signs for the chromatic scale, with the tonic 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;\" \/>.<\/p>\n<\/div>\n<\/div>\n<p class=\"import-Normal\">Practice singing, playing, and aurally <span style=\"font-size: 18.6667px\">identifying <\/span><span style=\"font-size: 14pt\">the pitch patterns that appear below in Figure 32\u20112 (pitch patterns in major) and Figure 32\u20113 (pitch patterns in minor) in various keys. In cases that may seem ambiguous, superscripts (<\/span><sup>1<\/sup><span style=\"font-size: 14pt\">) indicate a pitch in the higher octave (above the previous note), while subscripts (<\/span><sub>1<\/sub><span style=\"font-size: 14pt\">) indicate a pitch in the lower octave (below the previous note).<\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 32\u20112. Chromatic pitch patterns in major<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><small><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2-1024x633.png\" alt=\"chart listing pitch patterns in solfege\" width=\"1024\" height=\"633\" class=\"alignnone wp-image-3636 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2-1024x633.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2-300x186.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2-768x475.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2-65x40.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2-225x139.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2-350x217.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.2.png 1534w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/small><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-32.2.pdf\" target=\"_blank\" rel=\"noopener\">Figure 32.2<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 32\u20113. Chromatic pitch patterns in minor<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><small><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3-1024x440.png\" alt=\"chart listing pitch patterns in solfege\" width=\"1024\" height=\"440\" class=\"alignnone wp-image-3637 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3-1024x440.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3-300x129.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3-768x330.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3-65x28.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3-225x97.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3-350x150.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-32.3.png 1513w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/small><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Figure-32.3.pdf\" target=\"_blank\" rel=\"noopener\">Figure 32.3<\/a><\/div>\n<\/div>\n<\/div>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Self-quiz on solfege thinking problems<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><span><\/p>\n<div id=\"h5p-70\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-70\" class=\"h5p-iframe\" data-content-id=\"70\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"ch 32 Solfege thinking problems\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_763_3593\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_3593\"><div tabindex=\"-1\"><p>chords built on a secondary leading tone that tonicize any non-tonic major or minor triad<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_763_3445\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_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_763_3480\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_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_763_1461\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_1461\"><div tabindex=\"-1\"><p>the fundamental note from which a chord is built<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_763_346\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_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_763_3007\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_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_763_4662\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_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_763_2863\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_2863\"><div tabindex=\"-1\"><p>notes that do not belong in a given chord; for example, D would be a non-chord tone in relationship to a C major triad<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_763_1195\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_1195\"><div tabindex=\"-1\"><p>scale that features the following interval pattern: half - whole - whole - whole - half - whole - whole<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_763_2509\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_763_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><\/div>","protected":false},"author":3,"menu_order":32,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-763","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/763","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":52,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/763\/revisions"}],"predecessor-version":[{"id":7121,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/763\/revisions\/7121"}],"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\/763\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=763"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=763"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=763"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=763"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}