LESSON 7

SECONDARY LEADING TONE CHORDS

    Ø This lesson features the secondary lending tone chords acting as the dominant with the leading tone, leading to a tonicized secondary dominant. The ones often used are the fully diminished and the half-diminished inverted 6/5 and 4/3 chords. However, the non-inverted half-diminished and the first inversion of the diminished triad are those not often used.

This image shows the different inversions of the secondary leading tone chord and how it's resolved to the dominant.

 https://inalbis.net/wp-content/uploads/2014/11/Part-Writing-Secondary-Leading-Tone-Chords.png

    Ø In recognizing a secondary leading tone chord to the dominant, it is a converted 4^th-degree chord of the diatonic positioned just before the dominant. With its root taken up a semitone higher, this causes it to become a leading tone and a diminished triad, leading to the 5^th. In addition, an added minor third above the 5th makes it a fully diminished 7th chord, while a major third above the 5th makes it a half-diminished chord.

These are triads of the secondary-leading chord tones in the key of C major highlighted in red  

https://i.ytimg.com/vi/am-F3vlRRuA/maxresdefault.jpg

  Ø   Due to the function of the secondary leading tone chord to the 5^th, this chord must resolve like a leading-tone chord. When resolving this chord, the root resolves up to the 5^th degree of the diatonic. While the 7th of the chord resolves down to the second degree of the diatonic.     

      These are triads of the secondary-leading chord tones in the key of c minor highlighted in red

 

https://i.ytimg.com/vi/FBc9ThC6N8w/maxresdefault.jpg

 Ø   One of the main reasons for using this chord as a secondary leading tone chord, the triad of this chord is identical to the dominant without the root.

Ø  The secondary leading tone chord can be resolved by any of the scale degrees notes. Except for the diminished or half-diminished chord notes, like the 7^th in major and minor keys and the 2^nd degree in minor keys, this chord can only be resolved by major and minor chords.

This is an arrangement of the appreciated chord progression I, IV, vii^o7/V, V I written in three different keys D major, C major, and f minor

This video is a performance of the chord progression above that includes The secondary leading tone chord

Video of The Secondary Leading Tone Chord

This entails

Similarities to the secondary dominant

A description of it being a diminished triad and 7th chord

Tells off the leading tone borrowed from the triad of the diatonic key it  represents

Defining Tonicization

Identifying the commonly used secondary leading tones

Identifying secondary leading tone chords and melodies

Displaying an image of the secondary-leading chord in major and minor keys

Describing part-writing of the chord 

Resolving off the secondary-leading chord

Video of The Secondary Leading Tone Chord

This entails

Revision of the secondary dominant

Listening examples of the secondary leading tone chord

An image showing the 5th D major and the 7th in A major

Unexampled of vii^o6/V, vii^o/VII, vii^o7/V

Image of D and A minor scale 7th chords

Differentiating between the 7th degree in a major key and a minor key

The use of an image to explain the resolution

A practice melody