Secondary Functions 2

According to the principles of using secondary leading-tone seventh chords, which chord is specified for use when the triad to be tonicized is minor?

When a major triad is tonicized by a secondary leading-tone seventh chord, which statement is accurate regarding the choice of chord?

What is the first step in the procedure for spelling secondary leading-tone chords?

After finding the root of the chord to be tonicized, what interval must one move to find the root of the secondary leading-tone chord?

What is the root of a vii°⁷/vi chord in Eb major?

What is the first step for recognizing a secondary leading-tone chord in a musical passage?

In the minor mode, which secondary leading-tone seventh chord is noted as an exception that is not used, even though its target (the V chord) is major?

The deceptive progression V(7)–vi is often embellished by inserting a secondary chord. Besides a V(7)/vi, which other secondary function is mentioned as being 'just as common' in this context?

In a circle-of-fifths sequence in C major, what is the vii°⁷/ substitute for a Dm⁷ (ii⁷) chord?

When a series of major-minor seventh chords is used in a circle-of-fifths sequence, what is the typical voice-leading motion of each leading tone?

The text states that a substituted secondary dominant will have the same root as the diatonic chord for which it substitutes. A substituted secondary leading-tone chord, however, will have a root that is what interval higher than the root of the diatonic chord it replaces?

What is the resolution of a vii°⁷/V that is spelled enharmonically in major keys when the V is delayed by a I⁶₄ chord?

A deceptive resolution of a secondary function is described where a V⁷/ chord resolves up to the vi (or VI) of the chord that was being tonicized. What is the analysis for a progression of A⁷ to Bb in the key of F?

The text describes a progression where a V⁶₅/V is followed by a V⁴₃/IV as a kind of deceptive resolution. What is the main reason this progression 'works' according to the text?

What is the relationship between any two major-minor seventh chords whose roots are a minor third apart?

In the analysis of the voice leading for two major-minor seventh chords a minor third apart, what happens to the voices that are not held as common tones?

A diatonic circle-of-fifths sequence in the key of e minor is given as C(VI) – F#°(ii°) – B(V) – Em(i). What chord is listed as a vii°⁷/ substitute for the F#°(ii°) chord?

What does the text identify as a convenient abbreviation that can be used for longer tonicizations?

How many common tones are shared between two major-minor seventh chords whose roots are a tritone apart?

What is the only major triad that is never tonicized by a secondary viiø⁷ chord, according to the chapter summary?

In a circle-of-fifths progression of root position seventh chords in a four-part texture, what must happen with complete and incomplete chords?

Besides the V-vii°⁷/vi-vi progression, what other variant of a deceptive progression using a vii°⁷/vi is mentioned in the summary?

In the circle-of-fifths sequence using V⁷/ substitutions in C major, what is the substitute for the Em⁷ (iii⁷) chord?

Which of these is NOT a function of secondary dominant or secondary leading-tone chords according to the summary?

How many variations on the circle-of-fifths progression are presented in the chart on page 271 by choosing one chord from each of the first three columns?

What is the primary difference between a V(7) chord and a vii°(7) chord in terms of their sonority, as mentioned in the chapter's introduction?

According to the text, which secondary leading-tone chords are considered more common than others?

In resolving a vii°⁷/V or a viiø⁷/V, what consideration regarding doubling is mentioned?

The text states that the functions of certain secondary chords like vii°/III in minor can be made clear only by what?

How many steps are outlined in the procedure for spelling secondary leading-tone chords?

In the summary's discussion of secondary function substitutions, a substituted secondary dominant has the same root as its diatonic counterpart. What is the root relationship for a substituted secondary leading-tone chord?

What type of resolution is it when a V⁶₅/V is followed not by a V, but by a V⁴₃/IV?

The resolution of the vii°⁷/V is sometimes spelled enharmonically in major keys when delayed by a what?

What is the second step in the three-step procedure for recognizing a secondary leading-tone chord?

In the final step of recognizing a secondary leading-tone chord, you check if a major or minor triad built on the note a m2 above the altered chord's root would be what?

How is the viiø⁷/III chord in minor described in the text?

The introduction to Chapter 17 states that V(7) and vii°(7) chords have similar functions. What does the chapter summary say about the resolution of secondary dominants?

In a circle-of-fifths sequence using major-minor seventh chords like in Example 17-8, what happens to the voice leading of the outer voices (soprano and bass)?

What does the text say about the frequency of secondary functions other than V, vii°, and vi?

To spell a vii°⁶/V chord in the key of C major, what would be the bass note?

If you encounter a G#°⁷ chord in the key of C major, what is its most likely analysis as a secondary function?

What is the interval between the root of a vii°⁷/ substitute and the root of the diatonic chord it replaces in a sequence, such as the substitution of G#°⁷ for Am⁷?

What is the general principle regarding the function of V(7) and vii°(7) chords when they are used as secondary functions?

In the discussion of Example 17-7, the progression is described as essentially VI–ii°–V–i with two °7 chord substitutions. This example is in what key?

What reason does the text give for the viiø⁷/V not being used in the minor mode?

To spell a vii°⁴₃/V chord in d minor, what would be the bass note?

The Checkpoint section asks to name the only major triad that is never tonicized by a secondary viiø⁷. What is it?

According to the Checkpoint, what is the interval between the root of a secondary leading-tone chord and the root of the chord being tonicized?

What is the general voice-leading characteristic of smooth progressions involving secondary functions, as noted in the discussion of Example 17-3?

In a circle-of-fifths sequence using seventh chords in a four-part texture with inverted chords, what two types of inversions are said to alternate?