en>Headbomb: /* References */Various citation cleanup (identifiers mostly) using AWB

2011-09-05T05:30:47Z

References: Various citation cleanup (identifiers mostly) using AWB

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[[File:Secondary leading-tone chord.png|thumb|Secondary leading-tone chord: vii{{music|dim}}7/V - V in C major {{audio|Secondary leading-tone chord.mid|Play}}. This may also be considered an altered [[major seventh chord|IV7]] (FACE becomes F{{music|#}}ACE{{music|b}}).<ref name="B&S">Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I'', p.270. ISBN 978-0-07-294262-0.</ref>]]
[[File:Added diminished seventh chord.png|thumb|Progression with added diminished seventh chords, creating momentum between two chords a major second apart.<ref name="L&H">Richard Lawn, Jeffrey L. Hellmer (1996). ''Jazz: Theory and Practice'', p.97-98. ISBN 978-0-88284-722-1.</ref> {{audio|Added diminished seventh chord.mid|Play}}]]
[[File:Added diminished seventh chord original.png|thumb|Chord progression (without added diminished seventh chords).<ref name="L&H"/> {{audio|Added diminished seventh chord original.mid|Play}}]]
[[File:Easy Living diminished seventh chord harmonization.png|thumb|Example from "[[Easy Living (song)|Easy Living]]".<ref name="L&H"/> {{audio|Easy Living diminished seventh chord harmonization.mid|Play}}]]

In [[music theory]], a '''secondary leading-tone chord''' or '''secondary diminished seventh''', as in seventh [[Degree (music)|scale degree]]<ref name="Blatter">Blatter, Alfred (2007). ''Revisiting Music Theory: A Guide to the Practice'', p.132. ISBN 0-415-97440-2.</ref> or [[leading-tone]], is a [[secondary dominant|secondary]] [[chord (music)|chord]] but rather than being a [[dominant chord|dominant]] it is a [[leading-tone seventh chord]] or [[triad (music)|triad]], which are similar in [[diatonic function|function]] to dominant chords. Also similar to secondary dominant chords they are [[altered chord]]s.<ref name="B&S"/> In contrast to secondary dominant chords they do not move in [[circle progression]]s but rather [[resolution (music)|resolve]] up by [[semitone|half step]].<ref name="B&S 271"/> Fully [[diminished seventh chord]]s are more common than [[half-diminished seventh chord]]s<ref name="B&S"/> and one may also find [[diminished triad]]s [without sevenths].<ref name="Blatter"/>

Secondary leading-tone chords may [[resolution (music)|resolve]] to either a [[major chord|major]] or [[minor chord|minor]] diatonic triad:<ref name="B&S"/><ref name="B&S 271">Benward & Saker (2003), p.271</ref>
:In [[major key]]s: [[supertonic|ii]], [[mediant|iii]], [[subdominant|IV]], V, [[submediant|vi]]
:In [[minor key]]s: III, iv, V, VI
For example vii{{music|halfdim}}7/V or vii{{music|dim}}7/iv. Especially in [[Music theory#Four-part writing|four-part writing]], the [[seventh (chord)|seventh]] should resolve downwards by [[steps and skips|step]] and if possible the lower [[tritone]] should resolve appropriately, inwards if a diminished fifth and outwards if an augmented fourth.<ref>Benward & Saker (2003), p.272</ref>

In harmonic analysis secondary sevenths are expressed in the following format:
<math>\frac{vii^{ox}}{y}</math>
where ''x'' = the correct inversion symbol [ [[figured bass]]], and ''y'' = the root of the chord of resolution as a roman numeral.<ref name="Blatter"/>

==Sources==
{{reflist}}

{{Chords}}

[[Category:Secondary chords]]

Metric compatibility - Revision history

en>Headbomb: /* References */Various citation cleanup (identifiers mostly) using AWB