8,720
edits
Changes
m
→Secondary Dominant
{{Top-Level Crumbs|1}}
{{Lesson Crumbs|3}}
{{Advanced Lesson Crumbs|3}}
===Notation===
The "/" indicates that the chord is borrowed. The bottom or right side of the slash is the key that is being borrowed from, in relation to the current tonic note. The left or top side of the slash indicates which chord from that scale is being used. '''V/V ''' means the fifth diatonic major chord of the major key whose root is the fifth diatonic note of the current key.
In the key of C Major, the V/V chord is V/G Major (V of G Major), or D major.
<small>''also called '''borrowed dominant'''''</small>
The most common borrowed chord is the V (or V{{7}}) of V chord, commonly notated as ''V/V'' or ''V{{7}}/V''. Basically, if we think of the current key's V chord as a I chord, it is the V chord above that. So for the key of C Major, V is G major. In the key of G Major, V is D major. Thus, in the key of C Major, V/V is D major. Notice, the diatonic chord in the key of C Major with a root note of D is actually D minor, making the V/V D major chord a non-diatonic chord. Similarly, in the key of A Harmonic Minor, V is E major, so V/V is B major. The diatonic chord would be B diminished.
====Function====
R M3 A4 A6
-M3- -M2- -M3-
----tt----
----A4----
R M3 P5 A6
-M3- -m3- -M3-
----tt----
----P5----
The German 6th is enharmonically equivalent to a dominant 7th chord. The difference is its usage, functioning as a sub-dominant for the given key rather than the dominant for the {{b}}II key. The added P5 here makes for difficult voice leading, often requiring to move it before or to resort to inverting the subsequent dominant chord.
C AbGr+6 G C
E--0------2------3------0---
B--1------1------3------1---
G--0------1------0------0---
D--2------1------0------2---
A--3------3------2------3---
E---------4------3----------
=== Neapolitan Chord ===
The mediant relationship between chords is a quite harmonic one, and it's possible to use any combination of mediant chords in succession. We will lose the tonality of the original key by doing so. This prevents a complete resolution and might fail to produce closure for a progression, but makes for a very interesting journey. For example, let's move in mediants and try to return to our tonic:
I III bvi #v I
C E G#m C (= B#)
== Homework ==
* Know what a tonicization is and its harmonic function.
* Practice the above examples of tonicizations.
* Write your own progressions that make use of tonicizations.
* Know what borrowed chords are and how they can be used in terms of harmonic function.
* Practice the above examples of borrowed chords.
* Write your own progressions that make use of borrowed chords.
* Know what an augmented 6th chord is and its harmonic function.
* Know the Italian, French, and German variations.
* Practice the above examples of augmented 6th chords.
* Write your own progressions that make use of augmented 6th chords.
* Know what the Neapolitan 6th chord is its harmonic function.
* Practice the above examples of Neapolitan 6th chord progressions.
* Write your own progressions that make use of the Neapolitan 6th chord.
* Know what chromatic mediants are and how they fit into chord progressions.
* Practice the above examples of chromatic mediants.
* Write your own progressions that make use of chromatic mediants.
== Q & A ==