15c Lesson - Irregular Usage of Secondary Chords

Class discussion

Irregular Usage of Secondary Chords

Deceptive Resolutions of Secondary Dominant Functions

Example in C

Soprano: C5 - B4 - A4 - G4 - G4

Alto: E4 - D4 - C4 - D4 - C4

Tenor: G3 - F#3 - A3 - D3 - C4

Bass: C3 - E3 - F3 - F3 - E3

Roman Numerals: I - V7/vi - IV - V42 - I6

Why can the V7/vi go to the IV? Because it creates a V - vi in the key of the vi, or a deceptive cadence in the key of A minor. That’s why the progression sounds good to our ear. Why not label it V/vi - vi/vi? It goes to a V in the real key right after the chord, so it is easier to see the IV - V than a vi/vi - V.

Roman numeral analysis means labeling non-chord tones. Non-chord tones in the music we study will always fall into the categories we study. If the non-chord tone you label does not fall into one of the categories, you probably mis-labeled the chord tones.

V/IV (C) - IV (F)

• labeling the C as a secondary dominant is pointless because it functions as the tonic, not as the dominant to IV.

VII - III - VI V/III - V/VI - VI When they leave diatonic function, don’t use a diatonic label. You aren’t going to see a III7. You aren’t going to see a II. They’re written in other ways that make more functional sense.