SwarShala: secondary dominant and tonal-context worksheet Guide: https://swarshala.com/blog/recognise-secondary-dominants-and-tonicization Original written exercises. Date: 2026-10-03. CONVENTIONS 4/4. C4 is middle C. # means sharp. q = quarter; h = half; w = whole; dh = dotted half; rq = quarter rest. V7/V names a dominant seventh of the target V; D7/F# names F# as bass. These are paper analyses in a stated Western tonal framework, not audio or performance tests. Context can support an interpretation without a universal duration threshold. CONSTRUCTION In C major, V7/V targets G. Build D-F#-A-C, D7. In C major, V7/vi targets Am. Build E-G#-B-D, E7. In C major, V7/ii targets Dm. Build A-C#-E-G, A7. Check target root and dominant quality separately. ACCOMPANIMENT VOICINGS C = C3-E3-G3; F = F2-A2-C3; G = G2-B2-D3; G7 = G2-B2-D3-F3; D7 = D3-F#3-A3-C4; Am/C = C3-E3-A3; G/D = D3-G3-B3. Hold each chord for its full bar except bars with an explicit final rest. SHARED OPENING FOR BOTH VERSIONS Bar Chord Complete melody 1 C C5 q, E5 q, G5 h 2 F A5 q, F5 q, C5 h 3 G7 D5 h, B4 h 4 C C5 dh, rq Phrase 1 ends after bar 4. At bar 4 all parts rest on beat 4. This establishes a C-major context with G7-C at the phrase ending. COMMON START TO PHRASE 2 5 D7 F#4 q, A4 q, C5 q, A4 q 6 G B4 q, D5 q, G5 q, D5 q No phrase break after bar 6 in either version. VERSION A: CONTINUE AFTER BAR 6 WITH 7 G7 F5 h, B4 h 8 C C5 dh, rq Phrase 2 ends after bar 8. All parts rest on bar 8 beat 4. VERSION B: INSTEAD CONTINUE AFTER BAR 6 WITH 7 Am/C E5 q, C5 q, A4 h 8 G/D G4 w 9 D7 F#4 h, D4 h 10 G G4 dh, rq Phrase 2 ends after bar 10. All parts rest on bar 10 beat 4. CONTEXT QUESTIONS 1. In both versions, which chord does D7 target? _______________________ 2. Write A's bars 5-8 as Roman numerals in C. __________________________ 3. In G major, what are B's bars 7-10? _________________________________ 4. What supports the proposed return-to-C versus new-G distinction? _________________________________________________________________ 5. Hide everything after bar 6, including the phrase-ending information. State what the crop establishes and what remains uncertain. _________________________________________________________________ 6. Can the number of bars alone decide tonicization versus modulation? _________________________________________________________________ INDEPENDENT CONSTRUCTION AND NOTATION QUESTIONS A. In C major, construct V7/ii; name the target and raised pitch. ________ B. In G major, construct V7/V; spell all four members and target. _______ C. Repair E-G-B-D as V7/vi in C. ______________________________________ D. Does D7/F# mean dominant of F#? Explain the two slash conventions. _________________________________________________________________ -------------------- ANSWER KEY: COVER UNTIL READY -------------------- 1. G. D7's members D-F#-A-C give the dominant seventh of G. 2. V7/V - V - V7 - I. The C-major ending supports local tonicization of V. 3. ii6 - I6/4 - V7 - I. Am/C - G/D - D7 - G. 4. A turns G into G7 and closes G7-C in its declared phrase. B continues with cadential preparation and D7-G at a G arrival. That fuller context supports a modulation to G in this framework; the extra bars alone do not. 5. D7 targets G; V7/V-V is provisional in the established C context. Without the following music or boundary evidence, this does not decide whether G is later confirmed as the larger passage's new key. 6. No. Consider phrase function, cadential support and continuation; retain justified ambiguity in a short or incomplete passage. A. A7 = A-C#-E-G, targeting Dm. C# gives a major third instead of Am7's C. B. Target V in G is D major. A7 = A-C#-E-G is its dominant seventh, labelled V7/V in G. C. Raise G to G#: E-G#-B-D. E-G-B-D is Em7, not dominant-quality E7. D. No. A chord-symbol slash names a bass pitch. An applied Roman-numeral slash names the target chord's role in the supplied key. Evidence statement template: Local target: ____________ spelling check: ____________________________ Larger key proposal: ____________ supporting cadence/context: _________ Missing information or alternative analysis: __________________________