15b Lesson - Non-dominant Function Secondary Chords

Class discussion

Non-dominant Function Secondary Chords

Roman Numeral analysis of “Other secondary functions”

C: I, V4/3, I, iv of ii, V4/2 of ii, ii6, V7, I

Why is iv of ii not a minor v chord? Minor v chords really only function as passing or pedal chords, but this iv of ii clearly functions as the beginning of a progression that moves toward a ii chord.

Roman numeral analysis of “Ambiguous secondary functions”

C: I, vi, V6/5 of V, V7, I

Should vi be labeled as ii of V? Maybe not because you haven’t heard the transition to V yet because I to vi is a common sound. This is subjective, though, and open for argument.

Example in C: Non-Secondary Dominant Functions (15b.)

What is the chord progression?

• we find chords that are unusual but still have secondary function

Progression: I - V7 - x - x - x - V7 - I

Filled in:

C - G7 - Gm - A7/G - Dm/A - G7 - C

I - V7 - iv/ii - V42/ii - ii6/4 - V7 - I

Harmonizing consecutive seventh chords

In a circle progression, stepwise resolution can be achieved with seventh chords in the iii and ii.

• iii43 - vi7 - ii43 - V7 - I

The second inversion in the iii7 and ii7 chords allows for a resolution with smooth voice leading

Example in C: Harmonizing Consecutive Seventh Chords

Soprano: C5 - B4 - C5

Alto: F4 - F4 - E4

Tenor: A3 - G3 - G3

Bass: D3 - D3 - C3

Roman Numerals: ii7 - V43 - I

• the third of the ii7 (F), instead of resolving down has to stay through the next chord to get to the E in the tonic

If you turn the ii7 into a V7/V, and change the F to an F# in the Alto line, you’ll want to resolve it to a G. That resolution, while melodically ideal, doesn’t work for voicing the next chord. So sometimes you have to break voice leading rules.

In the case of this example in a piece of music, the musician would rather read a Gb - F than an F# - F. This can cause confusion when trying to analyze a piece of music. Sometimes you have to think enharmonically to solve problems in analysis.

Example in C: Consecutive Secondary Dominant Chords

Soprano: C5 - C5 - D5 - D5 - C5

Alto: E4 - E4 - F4 - G4 - E4

Tenor: G3 - A3 - A3 - B3 - G3

Bass: C3 - A2 - D3 - G2 - C3

Roman Numerals: I - vi - ii - V - I

• here we have a normal circle progression

Where can we input secondary dominants? Here are some places you can place secondary dominants.

(G) V/I = V (G), (D) V/V = ii (Dmin), (A) V/ii = vi (Amin), (E) V/vi = iii (Emin)

• you can replace every chord up to the V with a secondary dominant

Soprano: C5 - C#5 - D5 - D5 - C5

Alto: E4 - E4 - F#4 - G4 - E4

Tenor: G3 - A3 - A3 - B3 - G3

Bass: C3 - A2 - D3 - G2 - C3

Roman Numerals: I - V/ii - V/V - V - I

• the secondary dominants are still resolving to the correct chord with a raised third
• this can give us a string of secondary dominants leading to V - I

iii - vi - [ii,IV] - [V,viio] - I

V/vi - V/ii - V/V - V - I