Secondary leading-tone chord

Secondary leading-tone chord: vii^o⁷/V - V in C major

Play . This may also be considered an altered IV⁷ (FACE becomes F♯ACE♭).^[1]

Progression with added diminished seventh chords, creating momentum between two chords a major second apart.^[2]

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Chord progression (without added diminished seventh chords).^[2]

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Example from "Easy Living".^[2]

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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 vii^ø⁷/V or vii^o⁷/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:

 ${\frac {vii^{ox}}{y}}$

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

Sources

1 2 3 4 Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.270. ISBN 978-0-07-294262-0.
1 2 3 Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.97-98. ISBN 978-0-88284-722-1.
1 2 3 Blatter, Alfred (2007). Revisiting Music Theory: A Guide to the Practice, p.132. ISBN 0-415-97440-2.
1 2 Benward & Saker (2003), p.271
↑ Benward & Saker (2003), p.272

Chords

By form

Triad	Major Minor Augmented Diminished Suspended

Seventh	Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Altered seventh Nondominant Harmonic seventh

Extended	Ninth Eleventh Thirteenth Upper structure Dominant 7♯9 Polychord Tone cluster

Added / omitted	Sixth Augmented sixth Lydian Seven six

Specific	Alpha Bridge Complexe sonore Dream Elektra Farben Grandmother Magic µ Mystic Northern lights Petrushka Psalms So What Tristan Viennese trichord

General	Mixed interval Secundal Tertian Quartal Synthetic chord

By function

Diatonic	Tonic Dominant Subdominant Supertonic Mediant Submediant Leading / Subtonic

Altered	Approach Borrowed Chromatic mediant Neapolitan Passing

Secondary	Secondary dominant Secondary leading-tone Secondary supertonic

Other	Common Contrast Primary triad Subsidiary

Techniques

Other

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