All tendency tones resolve as expected: t – d, r – d or r – m, f – m, and l – s.

A. the SECONDARY DIMINISHED SEVENTH CHORD IN MAJOR

Note the similarity between the V and vii^o7 chords and their resolutions.

V resolutions in major

vii^o7 resolutions in major

The vii^o7 of the ii, iii, IV, V, and vi triads are available in major keys.

*Note that if vii^o7/V resolves to [I ] before moving to V⁽⁷⁾, the chord should be spelled enharmonically with ri (rather than me) resolving up to mi.

B. the SECONDARY DIMINISHED SEVENTH CHORD IN MINOR

Note the similarity between the V and vii^o7 chords and their resolutions.

V resolutions in minor

vii^o7 resolutions in minor

Only the vii^o7 of the iv and V triads are available in minor keys.

C. the Secondary half diminished chord in major

Secondary half diminished seventh chords are available in major keys only as vii^ø7/V and vii^ø7/IV.

Review: Resolving the half diminished seventh chord in major

Avoid the parallel P5^ths when the 5^th of the vii^ø7 chord (la) is in the soprano. Either double the 3^rd or the 5^th of the tonic triad or move first to a V chord.

The half diminished seventh chord as a secondary dominant

Similar resolutions occur between vii^ø7/V – V and vii^ø7/IV – IV.

D. the SECONDARY leading tone CHORD

The vii^o6 chord, which normally functions as the passing vii^o6 chord between I – I⁶, is also available as a secondary dominant.

In major keys, the vii^o6 of the ii, iii, IV, V, and vi chords are available. Note that primary triads in first inversion have the doubled soprano and secondary triads in first inversion have the doubled bass.

In minor keys, the vii^o6 of iv and V are available.