Secondary Functions 1

What is the definition of 'chromaticism' in music?

How are 'altered chords' defined in the context of essential chromaticism?

What is the most accurate definition of a 'secondary function' in tonal music?

What does it mean for one chord to have 'tonicized' another chord?

What is identified as the most common type of altered chord in tonal music?

Most secondary functions are categorized as being either secondary dominants or what other type of chord?

What is the first of the three steps involved in spelling a secondary dominant?

After finding the root of the chord to be tonicized, what is the second step in spelling a secondary dominant?

What is the third and final step when spelling a secondary dominant, after finding its root note?

According to the principles of secondary dominants, what types of triads can be tonicized?

In a major key, which diatonic triad cannot be tonicized by a secondary dominant?

In a minor key, which diatonic triad cannot be tonicized by a secondary dominant?

What is the interval relationship between the root of a secondary dominant and the root of the chord it tonicizes?

Why is a V7/IV chord often used in a major key instead of a V/IV chord?

According to Example 16-3, which secondary dominant chord in the key of F major is identical to a diatonic chord?

In the key of d minor, as shown in Example 16-4, which secondary dominant is identical to the diatonic VII chord?

Following the steps outlined in the chapter, how would you spell a V/vi chord in the key of E-flat major?

Following the steps outlined in the chapter, how would you spell a V7/V chord in the key of b minor?

When encountering an altered chord in a musical passage, what is the first question to ask to determine if it might be a secondary dominant?

How do secondary dominants generally resolve?

What is the primary exception to the standard resolution of a secondary dominant?

Which secondary dominant is identified as the most frequently encountered?

As seen in Example 16-8, what harmonic event often delays the V chord in a V7/V to V progression, without being considered an irregular resolution?

What is a common embellishment of the deceptive progression V(7)-vi?

How does the chapter broaden the definition of a 'deceptive progression' beyond just a V-vi cadence?

What does the text say about the frequency of encountering secondary dominants of the mediant (iii) chord in major keys?

In contrast to major keys, how is the use of secondary dominants of the mediant (III) in minor keys described?

In a minor key, the diatonic VII or VII7 chord frequently functions as a secondary dominant of which chord?

What musical feature do the accidentals in most secondary dominant chords create?

In the key of C major, how would the chord A7 be analyzed using secondary dominant notation?

What is the term for chords that employ chromaticism?

What specific chords are involved in the progression V7/ii to ii7 in the key of C major?

According to the summary, the leading tone of the secondary dominant moves down by half step if necessary when resolving to a chord with what feature?

Which diatonic triad is NEVER tonicized by a secondary dominant, regardless of whether the key is major or minor?

What is the analysis for a G major triad in the key of d minor when it is functioning as a secondary dominant, not as the diatonic III chord?

What is the secondary dominant V7/vi in the key of G major?

What is the V(7)/iii progression in a major key described as, in terms of frequency?

In the summary, two variations on the deceptive progression are mentioned that employ secondary dominants. What are they?

What term is used for the use of chromatically altered tones as non-chord tones (NCTs)?

In Example 16-12, the text describes the V6/ii as an illustration of what kind of progression?

What is the secondary dominant chord V/V in the key of G major?

In Example 16-7c, the progression V6/5/V resolving to V4/2/V illustrates a principle related to what other concept discussed in Chapter 15?

When a major or minor triad being tonicized by a secondary dominant also contains its 7th, what is the resulting progression?

What is the analysis for a B major triad in the key of F major?

What is the secondary dominant V7/IV in the key of A major?

How does the text describe the V/VI chord in d minor as seen in Example 16-4?

What does 'essential chromaticism' refer to?

The V7/V in the key of F major is what chord?

The introduction of an F-sharp to F-natural movement in the bass of Example 16-9 is used to illustrate which principle?

In the summary, to determine if an altered chord is a secondary dominant, one should see if it is a major triad or major-minor seventh chord with a root that is a perfect fifth above what?