Secondary Dominants-Example 4

For our fourth example of secondary dominants, we will turn to a classical piece by Wolfgang Amadeus Mozart – Rondo in F, No. 33, K. 15hh of The London Sketchbook. The Entire work can be found on IMSLP.

Mozart – Rondo in F

For our purposes, we will look at only the last 8 measures of the C section of this small (5-part) rondo.

The first thing to do is analyze the chords using jazz/pop symbols to mark root, quality, and bass.

Next, add roman numerals for all chords that you can in the key of this section, F minor.

In analyzing with roman numerals, we see two chords that are not diatonic to the key. Let’s look at the first chord – a B^o7/F (m.2).

This B^o7 chord is a fully diminished 7th chord. It is not a fully diminished 7th in the key (which would be a E^o7). Therefore, this chord might be a secondary leading tone 7th chord.

If it is a vii^o7 of another chord, the root of this chord, B, would resolve up a half-step to a C, which it does.

C is scale degree 5 in the key of F minor, so we would analyze the chord in measure 2 as a vii^o7/V. Since the F (the fifth of the chord) is in the bass, the chord is in second inversion.

The chord in measure 4 (A^o7/Eb) is also not diatonic to the key of F minor.

This chord is also a fully diminished 7th chord. It is not a fully diminished 7th in the key and so might also be a secondary leading tone 7th chord.

If it is a vii^o7/Y, the root of this chord, A, would resolve up a half-step to a Bb, which it does.

Bb is scale degree 4 in the key of F minor, so we would analyze the chord in measure 4 as a vii^o7/IV. Since the Eb (the fifth of the chord) is in the bass, the chord is in second inversion.

The full analysis of this excerpt is shown below.