Secondary Triads

Definition

Secondary triads are triads built on the scale degrees of a major or minor scale, excluding the tonic, which is the first degree. These triads play a vital role in harmony by providing tension and leading to the resolution of primary triads, adding richness and color to the overall sound of music. They are identified as ii, iii, vi, and vii° in a major scale and ii, iii, and vii° in a minor scale, each serving specific functions in musical progression.

5 Must Know Facts For Your Next Test

1. Secondary triads are built on the second (ii), third (iii), sixth (vi), and seventh (vii°) scale degrees in major keys, while in minor keys they include ii, iii, and vii°.
2. Each secondary triad has a specific function: ii and vi often lead to the dominant chord (V), while iii can serve as a transitional chord.
3. The use of secondary triads enriches harmonic progressions and adds emotional depth to compositions.
4. In harmonic analysis, secondary triads are labeled using Roman numerals: ii for the supertonic, iii for the mediant, vi for the submediant, and vii° for the leading tone diminished triad.
5. Secondary triads help create movement in music, allowing composers to modulate or change keys smoothly.

Review Questions

• How do secondary triads function within a harmonic progression?
  • Secondary triads function by creating tension that leads to resolution within a harmonic progression. For example, the ii and vi chords typically resolve to the V chord before returning to the tonic. This creates a sense of movement and anticipation in music. By using secondary triads, composers can enhance their harmonic language and provide more interesting resolutions.
• What role do secondary triads play in distinguishing between major and minor scales?
  • Secondary triads help to differentiate between major and minor scales through their unique constructions. In major scales, secondary triads include ii, iii, vi, and vii°, while minor scales typically include only ii, iii, and vii°. This difference adds specific qualities and emotional contexts to compositions that utilize these chords. The presence of these triads in both scales enriches musical texture while maintaining clear distinctions between major and minor tonalities.
• Evaluate how secondary triads contribute to modulation within a piece of music.
  • Secondary triads significantly contribute to modulation by providing pivot chords that can lead seamlessly into new keys. For example, when a composer uses a vi chord from one key as a ii chord in another key, it creates a smooth transition between two tonal centers. This ability to connect different harmonic areas allows composers to explore diverse musical landscapes while maintaining cohesion in their works. By strategically employing secondary triads during modulations, composers create rich harmonic progressions that keep listeners engaged.

Related terms

Tonic: The first scale degree of a key that serves as the home base or point of rest in tonal music.

Primary Triads: The triads built on the first (tonic), fourth (subdominant), and fifth (dominant) scale degrees, forming the foundation of harmony in tonal music.

Diatonic Harmony: Harmony that uses only the notes from a given scale or key, without introducing notes from outside that scale.