Metric compatibility

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Secondary leading-tone chord: viiTemplate:Music7/V - V in C major My name: Lindsey Gavin
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Progression with added diminished seventh chords, creating momentum between two chords a major second apart.[2] My name: Lindsey Gavin
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Chord progression (without added diminished seventh chords).[2] My name: Lindsey Gavin
My age: 28
Country: Sweden
Home town: Vemdalen
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Address: Buanvagen 79

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Example from "Easy Living".[2] My name: Lindsey Gavin
My age: 28
Country: Sweden
Home town: Vemdalen
Postal code: 840 92
Address: Buanvagen 79

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]

In music theory, a secondary leading-tone chord or secondary diminished seventh, as in seventh scale degree[3] or leading-tone, is a secondary chord but rather than being a dominant it is a leading-tone seventh chord or triad, which are similar in function to dominant chords. Also similar to secondary dominant chords they are altered chords.[1] In contrast to secondary dominant chords they do not move in circle progressions but rather resolve up by half step.[4] Fully diminished seventh chords are more common than half-diminished seventh chords[1] and one may also find diminished triads [without sevenths].[3]

Secondary leading-tone chords may resolve to either a major or minor diatonic triad:[1][4]

In major keys: ii, iii, IV, V, vi
In minor keys: III, iv, V, VI

For example viiTemplate:Music7/V or viiTemplate:Music7/iv. Especially in four-part writing, the seventh should resolve downwards by step and if possible the lower tritone should resolve appropriately, inwards if a diminished fifth and outwards if an augmented fourth.[5]

In harmonic analysis secondary sevenths are expressed in the following format:


where x = the correct inversion symbol [ figured bass], and y = the root of the chord of resolution as a roman numeral.[3]

Sources

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Template:Chords

  1. 1.0 1.1 1.2 1.3 Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.270. ISBN 978-0-07-294262-0.
  2. 2.0 2.1 2.2 Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.97-98. ISBN 978-0-88284-722-1.
  3. 3.0 3.1 3.2 Blatter, Alfred (2007). Revisiting Music Theory: A Guide to the Practice, p.132. ISBN 0-415-97440-2.
  4. 4.0 4.1 Benward & Saker (2003), p.271
  5. Benward & Saker (2003), p.272