Secondary chords can be extended beyond the dominant function. Let’s look at the following chorale to see this. Provide leadsheet symbols and a Roman numeral analysis. There are multiple chromatically-altered chords, some of which cannot be explained as secondary dominant or leading-tone chords. (There is no minor v chord in the following progression.) It is helpful to start with leadsheet symbols when working with chromatic harmony, because it allows you to label chords by their construction before worrying about each chord’s function and relationships.
Because of the nature of diatonic progressions, there is a great deal of crossover between non-dominant secondary functions and the actual diatonic chords of a key. Provide a Roman numeral analysis of the following chorale, paying particular attention to the second chord. Is it diatonic or a secondary function?