Lesson jjj – Applied Chords Introduction
Applied chords as auxiliary sonorities
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| Applied chords as auxiliary sonorities:
Applied chords may also appear as auxiliary sonorities used to expand a reference sonority. Consider the following example from the lesson on auxiliary sonorities (Lesson III): Example 28: 
In Example 28, an auxiliary sonority coincidentally containing the pitches of a V6 chord is used to expand a vi chord. If tenor were to include a chromatic lower neighbor note (A - G# - A), the following expansion would result: Example 29: 
In the above example, the auxiliary sonority coincidentally produces the pitches of the vii°6 of A minor, tonicizing the reference chord, vi. This same type of expansion could be used on a V chord (“V - (vii°6/V) - V6”), and so on. Conclusion: Applied chords highlight the arrival of diatonic chords by tonicizing them. They do this by simulating the readily recognizable and pervasive dominant-tonic relationship in tonal music, thereby imparting a pseudo-tonic meaning to diatonic chords other than the reigning tonic. When a tonicized triad leads to the subsequent chord, its native diatonic function emerges clearly. Ultimately, therefore, despite chromatic alterations applied chords actually strengthen the reigning tonality rather than weaken it. Applied chords may be built on a root either a fifth above or semitone below the chord being tonicized, and may include a chordal seventh. They should resolve according to voice leading modeled in the basic interval progressions. It is essential to remember the difference between tonicization and modulation when dealing with applied chords. Tonicization is a local-level procedure, modulation a global-level one, with large-scale structural significance for a work. The difference is evident both from the comparatively brief influence of pseudo-tonics, and from the quick reversion of tonicized chords to their expected diatonic functions. 1 Applied chords are also frequently referred to as secondary dominants. This reflects the fact that they have a dominant function, but in a key other than the global tonic. Directory: Online-Remedial-Music-Theory-Program Online-Remedial-Music-Theory-Program -> Change "chords" to "sonorities" Online-Remedial-Music-Theory-Program -> Lesson nnn: Augmented Sixth Sonorities Introduction Online-Remedial-Music-Theory-Program -> Lesson nnn: Augmented Sixth Sonorities Introduction Online-Remedial-Music-Theory-Program -> Lesson ggg – Seventh Chords Introduction Online-Remedial-Music-Theory-Program -> Lesson ggg: Seventh Chords Introduction Online-Remedial-Music-Theory-Program -> Lesson eee: The Dominant Seventh Chord Introduction Online-Remedial-Music-Theory-Program -> Lesson ooo: Other Chromatic Harmonies Introduction Online-Remedial-Music-Theory-Program -> Lesson aaa – Basic Interval Progressions Introduction Download 0.9 Mb. Share with your friends:
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