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Posted by Josh C. Anyway, let's discuss secondary functions. First off a secondary function chord is a chord borrowed from a key to tonicize a different key. The best way to figure these out is to figure out the key of the "of" or the key which is being tonicized. In this case, it is the vi of G Maj. which is being tonicized. The six is of course e min. so the key we are borrowing from is e min. Secondly, it is best to look at the chord which we are borrowing. Continuing with our example, we get a viio7 chord. That's about the end of that. Third, we apply the two previous steps. The viio7 which takes place in the key of e min. is spelled with the root as a d#, the third being a f#, the fifth being an a, and to make the chord a fully diminished seventh you have a c natural. Now, where the notes should go is a little more complicated. If you are doing a four part harmony, then the texture before is needed for me to tell you. However, I can tell you how it resolves. The root of the chord (naturally) resolves to e the root of the e min. chord. And whenever a chord has a seventh the seventh must resolve down. The c moves down to b giving you the fifth. Also, the third should also move up a half-step from f# to g. Now we have a full e min. chord. YAY! But what to do with the third? That all depends on the inversion that the e min. chord will be in. For root position might I recommend an e. First inversion, I would say either root or the third. However, a second inversion chord would be completely useless here since the chord would not truly sound resolved. I hope this helps! Let me know if you have any other questions!
on 9/8/2007, 8:58 pm, in reply to "secondary dominants and how to figure them out."
147.26.237.41
Well let's see. First off, did you reply with a new question because you want me to answer or...just a place to put it?
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