🎶AP Music Theory Unit 7 – Secondary Function

Key Concepts

• Secondary functions introduce chromaticism and expand harmonic possibilities beyond the primary functions of tonic, subdominant, and dominant
• Occur when a chord temporarily takes on the function of a different chord within the key, creating a momentary tonicization of a non-tonic chord
• Commonly involve the use of secondary dominants (V/X) and secondary leading-tone chords (vii°/X)
  • Secondary dominants are the most frequently used type of secondary function
  • Secondary leading-tone chords are less common but serve a similar purpose
• Require accidentals to create the necessary half-step leading tones and maintain proper voice leading
• Enhance the sense of movement and direction within a phrase by emphasizing the target chord
• Add variety and interest to the harmonic progression while maintaining the overall tonality of the piece

Historical Context

• Secondary functions emerged during the Baroque era as composers sought ways to expand harmonic language beyond the basic tonic-dominant relationship
• Became increasingly common in the Classical era, with composers like Mozart and Haydn frequently employing secondary dominants in their works
• Romantic composers further exploited the expressive potential of secondary functions, using them to create more complex and chromatic harmonic progressions
  • Examples can be found in the works of Chopin, Brahms, and Wagner, among others
• Jazz and popular music also make extensive use of secondary functions, particularly secondary dominants, to add color and tension to chord progressions
• Understanding the historical development of secondary functions helps to contextualize their use in different musical styles and genres

Types of Secondary Functions

• Secondary dominants (V/X) are the most common type of secondary function
  • Formed by raising the third of a chord to create a temporary leading tone to the target chord
  • Can resolve to any diatonic chord in the key (e.g., V/ii, V/iii, V/IV, V/V, V/vi)
• Secondary leading-tone chords (vii°/X) serve a similar function to secondary dominants
  • Diminished triads or half-diminished seventh chords that resolve to a non-tonic chord
  • Less common than secondary dominants but can be used for variety and increased tension
• Secondary subdominants (IV/X) and supertonic chords (ii/X) are less frequently used but can also create temporary tonicizations
  • These chords are borrowed from the key of the target chord and precede the secondary dominant or leading-tone chord
• Deceptive resolutions of secondary functions can add an element of surprise and delay the resolution to the target chord
  • For example, V/vi resolving to IV instead of vi

Harmonic Analysis

• Identifying secondary functions requires recognizing the temporary tonicization of a non-tonic chord within the overall key
• Look for accidentals that create leading tones or alter chords to fit the function of a dominant or leading-tone chord in the target key
• Label secondary functions using the format "function/target chord" (e.g., V/ii, vii°/V)
  • The target chord is the chord being temporarily tonicized by the secondary function
• Analyze the resolution of the secondary function to the target chord, noting any deceptive or irregular resolutions
• Consider the larger harmonic context and how the secondary function contributes to the overall progression and phrase structure

Voice Leading Techniques

• Proper voice leading is essential when using secondary functions to ensure smooth transitions and maintain the integrity of the harmonic progression
• Resolve the temporary leading tone created by the secondary function to the target chord using stepwise motion
  • In secondary dominants, the raised third should resolve up by step to the root of the target chord
  • In secondary leading-tone chords, the leading tone should resolve up by step to the root of the target chord
• Avoid parallel fifths and octaves when resolving secondary functions
  • Use contrary or oblique motion to maintain independence of voices
• Employ common tone technique when possible, keeping a note common between the secondary function and the target chord to create a smooth connection
• Consider the doubling and spacing of chords to ensure a balanced and effective voicing

Practical Applications

• Use secondary functions to create a sense of movement and direction within a phrase, emphasizing the arrival at important structural points
  • For example, using a secondary dominant to highlight the beginning of a new phrase or section
• Employ secondary functions to add variety and interest to the harmonic progression, breaking up long sequences of diatonic chords
• Create momentum and tension by chaining multiple secondary functions together, such as a sequence of secondary dominants (e.g., V/vi - V/ii - V/V - V)
• Use secondary functions to modulate to closely related keys by emphasizing the dominant of the new key
  • For example, using V/V to prepare for a modulation to the dominant key
• Experiment with different voicings and inversions of secondary functions to find the most effective and musical arrangement for a given context

Common Progressions

• ii - V/V - V - I: A common progression that uses a secondary dominant to tonicize the dominant chord before resolving back to the tonic
• I - V/vi - vi - ii - V - I: A progression that employs a secondary dominant to highlight the submediant chord (vi) before moving to the supertonic (ii) and the authentic cadence (V-I)
• I - IV - V/V - V - I: A variation of the classic I-IV-V-I progression that incorporates a secondary dominant to add interest and tension
• I - vi - V/ii - ii - V - I: A progression that uses a secondary dominant to tonicize the supertonic chord (ii) before the authentic cadence
• I - iii - V/vi - vi - ii - V/V - V - I: A more complex progression that employs multiple secondary dominants to create a sense of movement and variety

Listening Examples

• Mozart, Symphony No. 40 in G minor, K. 550, 1st movement: Features several instances of secondary dominants, particularly V/vi and V/ii, adding color and tension to the harmonic progression
• Chopin, Prelude in E minor, Op. 28, No. 4: Employs a series of secondary dominants in the middle section, creating a sense of urgency and emotional intensity
• Bach, Prelude in C major, BWV 846 (from The Well-Tempered Clavier, Book 1): Uses secondary dominants and secondary leading-tone chords to create a continuous harmonic flow and maintain interest throughout the piece
• Brahms, Symphony No. 4 in E minor, Op. 98, 1st movement: Incorporates secondary functions as part of its rich and complex harmonic language, contributing to the work's emotional depth and structural cohesion
• The Beatles, "Hey Jude": The bridge section features a sequence of secondary dominants (e.g., V/vi, V/ii, V/V) that builds tension and anticipation before the final chorus