ABSTRACT
The secondary leading tone chord functions just as the secondary dominant. It has a secondary leading tone and the tonicizing tritone. The difference is the leading tone is the chord root and the tritone is created by the chord fifth. They resolve in the same manner as well: the leading tone up and the tritone down. The resolving tendency of this chord can be made quite a bit stronger by adding a seventh yielding the same two qualities as their diatonic counterparts—fully diminished and half diminished secondary leading tone chords. In both cases, the seventh resolves down by step. A singing exercise requiring to raise the chromatic pitch while retaining the other two pitches from the previous triad is provided to create secondary leading tone triad arpeggiation.
