Well, since leading term chords can substitute for dominant chords. Let's try to use them instead of dominants for the secondary dominants. I won't go through all the examples that I just went through but I'll do the first two so that you understand how to think about it. One of the main differences that you need to be aware of is that of course now you're going to be basing the chord off the leading tone. So when going from this chord, this now, sorry this F sharp which is the third that we altered. This is now the root of the chord. And then from this note we need to build, a fully diminished triad off of it. Note that usually when you do these secondary dom secondary leading tone quarts, they're usually fully diminished, even if they're you know, even if you're in a major key they should they don't have to be but they usually are fully diminished tri, seventh chords. Well if that's the case then let's look at what we have to do to this secondary dominant to turn it into a secondary leaning tone chord. Here's our root but we have the third above that and we have the fifth above that and now we have this thing which was our earlier [UNKNOWN] and if you remember, if you think about substitution or if you think about the description of substitution from the week on diatonic substitution. We saw that we could take a chord, well I'll just do it real quick here so you can see. [SOUND] Oops. [SOUND] If we wanted to. [SOUND] [SOUND] Now if we want to take this and turn it into a leading tone chord, we need to take. [SOUND] That guy. [SOUND] And these are fully diminished seventh chord, right? Again, I'm in the key of G in this case. Key of G this is your dominant seventh. And that means this. [SOUND] So that you can it, I put it there. Here's our leading tone triad, diminished, seven diminished triad. Now we add the seventh on top of it. And you notice there's the difference between the D and the, the note that you need to change it to is a semitone. So, here we go. And one way, I guess, you could go about doing this it won't work in every situation, but one way to go about doing this is, you know, make a dominant seventh chord as the secondary dominant, and then change the root, move it up by a semitone. See if that works. It may cause voice leading, voice leading problems, but it may not. Like in this case it doesn't at all. [SOUND] We take this guy. [SOUND] Move him up a semitone. Now we've got, instead of that, we've got seven diminished seven. That, a five. Let me play this for you. [MUSIC] Let's do the same here with chords that are a third apart. Well, this is going to be our leading tone. So we want to actually get this. You don't have to put it in the bass. It's not necessary to put it in the bass. In fact, what might be nicer is to revoice this whole thing so we get a very smooth progression down this way. We get this. But this is our root of this chord, right? So we have root, third, and now we need to get a fifth in here somewhere. And we have to think, well if that's the fifth, then the seventh is come going to from the, the e flat well it's not. It's much easier to get this note to an e flat then to get this note to an e flat. So. [MUSIC] I'll do that. And then, this one. [MUSIC] I'll get the, C. So we have root, third, fifth, and seventh. Note, just like before, you know, when I was talking about voicing. Seventh chords, root third and seventh are most important. If, for some reason, it doesn't work for voice leading, to include all four notes and you need to omit the fifth, you can do that as well. But it's completely possible in this situation without having, I believe, no, I get parallel fifths. [SOUND] So, I'm just going to do this. [SOUND] At least to hide it a little bit. You see the parallel fifths. Oh, it's actually a diminished fifth, going to a. [MUSIC]. It's okay, actually. It's okay. [MUSIC] It's a diminished fifth going in perfect fifth. In this situation, that's probably okay. So let's listen to it. [MUSIC] Not as nice, actually, but it does work. Not as nice as our last example. Anyway, these are two examples of how you could use a secondary leading tone chord. Instead of a secondary dominant. In, in a way the secondary leading tone chord is a kind of substitute for the secondary dominant. Try it out, see when, when you've got a, an opportunity to put in a secondary dominant. And you put it in, and you think, well, that sounds nice, but let's see what the secondary leading tone chord will sound like instead. Try it out, see how it sounds, see which one sounds better to you, and use that one.
