Music Theory - Secondary Leading Tone Chords.

This video goes along with contents from Chapter 17 (pgs. 262 - 270). Please read those after you watch!
0:00 hello
0:17 Secondary Leading Tone Chords defined
1:32 Fully vs. Half diminished 7ths
3:08 Identifying Secondary L-T in Context
7:35 All Secondary L-Ts in DMaj
9:00 All Secondary L-Ts in dmin
10:23 Part Writing with Secondary L-T

[@BenjaminGascon1]

Thank you for all of your videos. Please don't be discouraged by rude comments!

[@squirrel4727]

Where are the rude comments?

[@MichellPianoIsland]

Can you make some playlists please, so that we can listen to many of your videos in one go. Very good explanations! Thank you

[@eliastanner1111]

You should send your audio for your videos, I can get rid of the low end in your voice/room noise.

[@patbreacadh]

Great lesson!

[@berolinamusica8914]

could you do some Debussy harmony analysis? that would be tremendously helpful

[@lordofnesss]

Please ! do a video about writting a fugue!!

[@bobu5213]

Great video but this would be so much better if you played these chords so we can also hear what a secondary leading tone sounds like

[@sandile13809]

G-7 Gb°7. F-7
Would Gb°7 be a secondary leading tone chord even if it was played after the G-7. Or how would you notate that diminished chord?

[@DavidEFarrell]

Hello! That's a tricky question - I'd probably want to look at the music in more detail to give the best answer. Most secondary L-T chords function resolve as though one chord member is the leading tone of the following chord, and so the secondary L-T chord we'd expect to resolve towards Fm would be Eo7. Since your progression uses a different diminished chord, it is likely I'd describe it a different way.

[@sandile13809]

David E. Farrell thank you for the response. The song in particular is bye bye baby by Leo robin and jule stein, which the music can be found on the Broadway real book. The chords in particular are all the diminished chords near the end of the melody.

[@waynegram8907]

What is very confusing is that the Secondary leading tone chords can be either HALF or FULLY diminished in both Major and Minor keys. This doesn't make sense at all because in Major keys the vii is HALF dim and in Harmonic Minor is FULL diminished. So how can the secondary leading tone be able to switch between HALF and FULL in both Major and Minor keys?

[@DavidEFarrell]

Music theory tends to be descriptive rather than prescriptive - it tends to tell us what musicians did, rather than what they should have done (or why they did it). You are right - this is confusing! But - it is also the way a lot of common practice music works. In music, there is rarely a reason beyond "enough people liked the way it sounded."

[@jacobruiz97]

Fully diminished chords have a much stronger dominant function than the half diminished 7 chord so you can expect to see it more often than the half diminished 7 chord in both the major and minor key, whether as the “diatonic” leading tone chord or borrowed.

[@waynegram8907]

@@jacobruiz97 Which minor scale does the FULLY diminished 7 chord come from'? Major keys its HALF Diminished

[@jacobruiz97]

@@waynegram8907 That doesn’t mean you’re always going to hear the half diminished 7 chord. It’s very common for composers to borrow chords from the minor key. The fully dimished chord comes from the harmonic minor scale by the way.

[@waynegram8907]

@@jacobruiz97 The FULLY Diminished chord comes from the harmonic minor scale but which chords are fully diminished chords in harmonic minor scale? Because the II chord is a HALF Diminished m7b5 chord and the VII chord is a FULLY Diminished chord? In the key of C minor the VIIdim is B-D-F-Ab which is a HALF Diminished chord, its the same as the m7b5 so where is the FULLY Diminished chord? because a fully diminished has 1-3b-5b-7bb