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ap music theory unit 7 study guides

secondary function

7.0

Unit 7 Overview: Harmony and Voice Leading IV (Secondary Function)

7.1

Tonicization through Secondary Dominant Chords

7.2

Part Writing of Secondary Dominant Chords

7.3

Tonicization through Secondary Leading Tone Chords

7.4

Part Writing of Secondary Leading Tone Chords

unit 7 review

Secondary functions expand harmonic possibilities beyond primary chords, introducing chromaticism and temporary tonicizations. They emerged in the Baroque era and became increasingly common in Classical and Romantic music, adding variety and interest to progressions while maintaining overall tonality. Secondary dominants and leading-tone chords are the most common types, requiring accidentals to create necessary half-step leading tones. Proper voice leading is essential when using secondary functions, ensuring smooth transitions and maintaining harmonic integrity. These techniques enhance movement and direction within phrases.

Key Concepts

  • Secondary functions introduce chromaticism and expand harmonic possibilities beyond the primary functions of tonic, subdominant, and dominant
  • Occur when a chord temporarily takes on the function of a different chord within the key, creating a momentary tonicization of a non-tonic chord
  • Commonly involve the use of secondary dominants (V/X) and secondary leading-tone chords (vii°/X)
    • Secondary dominants are the most frequently used type of secondary function
    • Secondary leading-tone chords are less common but serve a similar purpose
  • Require accidentals to create the necessary half-step leading tones and maintain proper voice leading
  • Enhance the sense of movement and direction within a phrase by emphasizing the target chord
  • Add variety and interest to the harmonic progression while maintaining the overall tonality of the piece

Historical Context

  • Secondary functions emerged during the Baroque era as composers sought ways to expand harmonic language beyond the basic tonic-dominant relationship
  • Became increasingly common in the Classical era, with composers like Mozart and Haydn frequently employing secondary dominants in their works
  • Romantic composers further exploited the expressive potential of secondary functions, using them to create more complex and chromatic harmonic progressions
    • Examples can be found in the works of Chopin, Brahms, and Wagner, among others
  • Jazz and popular music also make extensive use of secondary functions, particularly secondary dominants, to add color and tension to chord progressions
  • Understanding the historical development of secondary functions helps to contextualize their use in different musical styles and genres

Types of Secondary Functions

  • Secondary dominants (V/X) are the most common type of secondary function
    • Formed by raising the third of a chord to create a temporary leading tone to the target chord
    • Can resolve to any diatonic chord in the key (e.g., V/ii, V/iii, V/IV, V/V, V/vi)
  • Secondary leading-tone chords (vii°/X) serve a similar function to secondary dominants
    • Diminished triads or half-diminished seventh chords that resolve to a non-tonic chord
    • Less common than secondary dominants but can be used for variety and increased tension
  • Secondary subdominants (IV/X) and supertonic chords (ii/X) are less frequently used but can also create temporary tonicizations
    • These chords are borrowed from the key of the target chord and precede the secondary dominant or leading-tone chord
  • Deceptive resolutions of secondary functions can add an element of surprise and delay the resolution to the target chord
    • For example, V/vi resolving to IV instead of vi

Harmonic Analysis

  • Identifying secondary functions requires recognizing the temporary tonicization of a non-tonic chord within the overall key
  • Look for accidentals that create leading tones or alter chords to fit the function of a dominant or leading-tone chord in the target key
  • Label secondary functions using the format "function/target chord" (e.g., V/ii, vii°/V)
    • The target chord is the chord being temporarily tonicized by the secondary function
  • Analyze the resolution of the secondary function to the target chord, noting any deceptive or irregular resolutions
  • Consider the larger harmonic context and how the secondary function contributes to the overall progression and phrase structure

Voice Leading Techniques

  • Proper voice leading is essential when using secondary functions to ensure smooth transitions and maintain the integrity of the harmonic progression
  • Resolve the temporary leading tone created by the secondary function to the target chord using stepwise motion
    • In secondary dominants, the raised third should resolve up by step to the root of the target chord
    • In secondary leading-tone chords, the leading tone should resolve up by step to the root of the target chord
  • Avoid parallel fifths and octaves when resolving secondary functions
    • Use contrary or oblique motion to maintain independence of voices
  • Employ common tone technique when possible, keeping a note common between the secondary function and the target chord to create a smooth connection
  • Consider the doubling and spacing of chords to ensure a balanced and effective voicing

Practical Applications

  • Use secondary functions to create a sense of movement and direction within a phrase, emphasizing the arrival at important structural points
    • For example, using a secondary dominant to highlight the beginning of a new phrase or section
  • Employ secondary functions to add variety and interest to the harmonic progression, breaking up long sequences of diatonic chords
  • Create momentum and tension by chaining multiple secondary functions together, such as a sequence of secondary dominants (e.g., V/vi - V/ii - V/V - V)
  • Use secondary functions to modulate to closely related keys by emphasizing the dominant of the new key
    • For example, using V/V to prepare for a modulation to the dominant key
  • Experiment with different voicings and inversions of secondary functions to find the most effective and musical arrangement for a given context

Common Progressions

  • ii - V/V - V - I: A common progression that uses a secondary dominant to tonicize the dominant chord before resolving back to the tonic
  • I - V/vi - vi - ii - V - I: A progression that employs a secondary dominant to highlight the submediant chord (vi) before moving to the supertonic (ii) and the authentic cadence (V-I)
  • I - IV - V/V - V - I: A variation of the classic I-IV-V-I progression that incorporates a secondary dominant to add interest and tension
  • I - vi - V/ii - ii - V - I: A progression that uses a secondary dominant to tonicize the supertonic chord (ii) before the authentic cadence
  • I - iii - V/vi - vi - ii - V/V - V - I: A more complex progression that employs multiple secondary dominants to create a sense of movement and variety

Listening Examples

  • Mozart, Symphony No. 40 in G minor, K. 550, 1st movement: Features several instances of secondary dominants, particularly V/vi and V/ii, adding color and tension to the harmonic progression
  • Chopin, Prelude in E minor, Op. 28, No. 4: Employs a series of secondary dominants in the middle section, creating a sense of urgency and emotional intensity
  • Bach, Prelude in C major, BWV 846 (from The Well-Tempered Clavier, Book 1): Uses secondary dominants and secondary leading-tone chords to create a continuous harmonic flow and maintain interest throughout the piece
  • Brahms, Symphony No. 4 in E minor, Op. 98, 1st movement: Incorporates secondary functions as part of its rich and complex harmonic language, contributing to the work's emotional depth and structural cohesion
  • The Beatles, "Hey Jude": The bridge section features a sequence of secondary dominants (e.g., V/vi, V/ii, V/V) that builds tension and anticipation before the final chorus

Frequently Asked Questions

What topics are covered in AP Music Theory Unit 7 (Secondary Function)?

Unit 7 — Harmony and Voice Leading IV: Secondary Function — is on Fiveable (https://library.fiveable.me/ap-music-theory/unit-7). This unit (~10–12 class periods) covers 7.1 Tonicization through secondary dominant chords (how applied dominants create brief tonic impressions), 7.2 Part-writing of secondary dominant chords (voice-leading and doubling rules, sevenths resolving), 7.3 Tonicization through secondary leading‑tone chords (applied diminished triads and seventh chords), and 7.4 Part‑writing of secondary leading‑tone chords (normative 18th‑century voice‑leading procedures). The focus is identifying tonicization in performed or notated music, spelling with accidentals, and AP-style part‑writing. For a concentrated review, Fiveable’s Unit 7 study guide, cheatsheets, and practice questions are all available at the same page.

How much of the AP Music Theory exam is based on Unit 7 material?

About 45% of the AP Music Theory exam draws on Unit 7 material — that shows up as seven questions and takes roughly 1 hour and 10 minutes of testing time. Fiveable’s concise Unit 7 review is at https://library.fiveable.me/ap-music-theory/unit-7. Expect two melodic dictation items, two harmonic dictation items, and a part‑writing task from figured bass that focus on secondary dominants and secondary leading‑tone chords, so you’ll see both transcription and writing tasks. Target practice on tonicization, applied dominants/leading‑tone chords, and part‑writing to boost accuracy. Fiveable’s Unit 7 guide plus practice questions and cram videos can speed up a last-minute review.

What's the hardest part of AP Music Theory Unit 7 and how can I master it?

The trickiest bits are tonicization and part‑writing for secondary functions — especially telling secondary dominants from secondary leading‑tone chords and getting the voice leading right. See the unit guide (https://library.fiveable.me/ap-music-theory/unit-7). These chords briefly make a diatonic chord act like a new tonic, so practice this three-step routine: (1) identify the target chord and its scale degree, (2) spell the secondary chord chromatically (don’t forget accidentals), and (3) apply standard voice‑leading rules (resolve leading tones, avoid parallel 5ths/8ves, double the correct tone). Drill by reducing progressions to Roman numerals, writing part‑writing exercises, and ear-training tonicizations. Fiveable’s cram videos and practice set are helpful for focused drills (https://library.fiveable.me/practice/music-theory).

How long should I study Unit 7 for AP Music Theory before the exam?

Aim for about 2–3 weeks of focused study for Unit 7 (roughly 10–12 class periods or about 15–20 total hours); start earlier if this is a weak unit. Fiveable's Unit 7 study guide is at https://library.fiveable.me/ap-music-theory/unit-7. Spend early sessions learning the concepts (secondary dominants and leading‑tone chords), then practice part‑writing and worked examples, and finish with timed practice problems and a quick review of common errors. Break study into 30–60 minute blocks: half reading/concept time and half active practice (writing, analyzing, singing). If sight‑singing or part‑writing is shaky, add short daily drills the week before the exam. Fiveable’s practice questions, cheatsheets, and cram videos speed up review.

Where can I find AP Music Theory Unit 7 PDF notes and practice quizzes?

You can find AP Music Theory Unit 7 PDF notes on Fiveable (https://library.fiveable.me/ap-music-theory/unit-7) and extra practice quizzes on the practice page (https://library.fiveable.me/practice/music-theory). The Unit 7 page follows the CED topic “Harmony and Voice Leading IV - Secondary Function” (7.1–7.4) and includes a study guide, downloadable notes, a cheatsheet, and cram video links. The practice page has many music‑theory questions with explanations so you can apply part‑writing and tonicization skills. For official framing and sample free-response questions, consult the College Board CED and released FRQs on the College Board site. Fiveable’s resources make it easy to review the PDF notes and drill the practice quizzes in one place.

How do secondary functions in Unit 7 affect chord progression analysis on the exam?

Think of secondary functions as temporary “mini-keys” that change how you hear a progression. Secondary dominants and secondary leading‑tone chords create tonicization and should be identified and labeled (for example, V/V or vii°/ii). They introduce accidentals that alter diatonic scale degrees and imply a dominant→tonic pull in a non‑primary key. In analysis you treat those applied chords like normal dominants or leading‑tone sonorities: resolve sevenths down, follow standard doubling rules, and watch tendency‑tone motion. On the AP expect multiple‑choice and FRQ prompts to label, identify, or part‑write these functions. Don’t confuse tonicization with a full key change—spot the accidentals, confirm the short duration and lack of cadence, then label the applied function. For worked examples and practice, see Fiveable’s Unit 7 study guide (https://library.fiveable.me/ap-music-theory/unit-7) and music‑theory practice questions (https://library.fiveable.me/practice/music-theory).

What are common Unit 7 practice questions and answers for AP Music Theory?

You’ll see a handful of recurring item types in Unit 7 practice. Labeling prompts: identify tonicization (answers like V/V, V/ii, or vii°/V) when accidentals create a temporary dominant. Part‑writing tasks: complete progressions such as V/V → V → I with correct doubling and resolution of sevenths. Voice‑leading checks: identify a vii°⁶/V and show how the leading‑tone resolves up while sevenths go down. Harmonic dictation: short excerpts often tonicize ii or V; answers mark the altered scale degrees and where the tonicization ends. For more drills and model answers, consult Fiveable’s Unit 7 materials (https://library.fiveable.me/ap-music-theory/unit-7). There you’ll find practice problems, sample answers, and explanations to solidify each type of question.

How should I study AP Music Theory Unit 7 notes and flashcards effectively?

Start with the Unit 7 study guide to get the basics: read sections 7.1–7.4 to learn secondary dominants and secondary leading‑tone chords (https://library.fiveable.me/ap-music-theory/unit-7). Make concise handwritten notes that show chord symbols, Roman numerals, and a few common tonicization progressions (for example, V/V → V and vii°/V → V). Practice short sight‑reading and part‑writing drills: label applied functions, resolve tendency tones, and voice‑lead two‑ and four‑part examples. If you use flashcards, keep them focused: front = chord or progression; back = function, resolution, and voice‑leading tips; add an audio cue if possible. Use spaced review (10–15 minutes daily for a week, then weekly) and apply concepts with practice problems rather than just memorizing. For extra drills, cheatsheets, and cram videos, check Fiveable’s practice resources (https://library.fiveable.me/practice/music-theory).