The APsolute RecAP: Music Theory Edition

We are taking a look at those tried and true 18th century voice leading rules again today. They will forever haunt us, and we all will break one by accident. It’s just a fact of life. This episode will specifically show examples of part writing for secondary chords. If those types of chords sound unfamiliar to you, look to episodes 31 and 32, which are about tonicization of secondary dominants and secondary leading tones.

Lets Zoom in:

Secondary dominants are chords that are a fifth away from the following chord, thus tonicizing that chord and acting like a dominant chord. Secondary leading tone chords are those that are a half step away from the following chord, thus tonicizing that chord and acting like a leading tone chord. Any secondary chord can account for uncharacteristically major or minor harmonies, and for pitches that have a chromatic that would not normally appear the key. For example, a #4 would resolve to 5, which tonicizes 5. Knowing that a chord is a secondary chord can be a clue as to how it should be resolved using voice leading rules. If you took that same example of a #4, but didn’t recognize it as a secondary chord, then you might accidentally resolve it to another pitch besides 5, and that would be awkward sounding.

Part writing for these chords is not much different than normal. All voice leading rules of diatonic chords apply to secondary dominants and secondary leading tones.

Episodes 20 and 21 provide a long list of voice leading rules, but to give you the TLDR (or what we used to call the reader’s digest version) There will be no voice crossing, unresolved leading tones, augmented intervals, diminished intervals, parallel fifths or parallel octaves. It is common to omit the 5th and double the root in a seventh chord. Inversions must be spelled correctly, and in any 6/4 second inversion triad chords, you must double the bass note. The progression I V4/3 I6 is allowed to have a diminished 5th into a perfect fifth and resolve by ascending (I V4/3 I6). All other chordal sevenths (including those in secondary chords) resolve down by a step. Generally the voices should not be more than an octave apart, except for the bass line. Spiel over.

This is one of those instances where memorization is really not going to do you too much good. It may help to spit out the fact that you should not have parallel fifths, but to actually part write music in SATB and avoid that parallel movement is another ball game altogether. Take that list I just spit out at you, write it on a note card, go to noteflight.com (make a free account if you haven’t already done so) and actually part write some music. Even if it is only a three to four chord in a progression, and even if it is only in C major, it will be much easier to remember the rules when you practice them. It is great to write on paper as well, but writing in notation software can allow you to listen to it while you write. I would even suggest listening to what it sounds like when you intentionally break a rule. So next time your teacher forgets to avoid a sneaky parallel octave you can be *that student* that points it out. Your class will hate you, you’re welcome.

Here is an example of a successfully written secondary dominant chord in music: (secondary dominant example)

And now an example of secondary leading tone chord in music: (secondary dominant example)

To recap……

Use all of the traditional 18th century voice leading rules to part write for all chords including secondary dominant and secondary leading tone chords. Make sure to recognize the secondary chords and resolve them where they are inclined to go while still following the rules. Practice part writing with these rules and listening to your own examples on noteflight.com.

Coming up next on the Apsolute RecAP Music Theory Edition: Phrase Relationships

Today’s Question of the day is about secondary chords.

Question: What would the roman numeral analysis be of the progression: C, Em, D, G, C?