Definition
Tonicization is the process by which a chord other than the tonic is treated for a moment as if it were a tonic, by preceding it with its dominant (or its ii–V, or its diminished seventh). The ear perceives it as a "local point of arrival," but the main key does not change. Schenker spoke of Tonikalisierung; Schoenberg of regions of the key.
Difference from modulation
| Tonicization | Modulation | |
|---|---|---|
| Duration | 1–4 bars | a phrase or a section |
| Cadence in the new key | no, or only weak | yes, usually authentic |
| Key signature | unchanged | often changes |
| Perception | momentary "color" | new center |
The boundary is blurry: if you stay on an area for a long time and confirm it with a cadence, tonicization becomes modulation.
The tools
- Secondary dominant V/x: A7 → Dm (V/ii in C).
- Secondary diminished seventh vii°7/x: C#°7 → Dm.
- Secondary ii–V: Eø7 – A7 → Dm (minor target), Am7 – D7 → G (major target).
- Secondary tritone substitute: Eb7 → Dm.
- Local plagal cadence: Bb → F (IV/IV) to tonicize the IV.
Table in C major
| Chord to tonicize | Secondary V7 | Secondary vii°7 | Secondary ii–V |
|---|---|---|---|
| Dm (ii) | A7 | C#°7 | Eø7 A7 |
| Em (iii) | B7 | D#°7 | F#ø7 B7 |
| F (IV) | C7 | E°7 | Gm7 C7 |
| G (V) | D7 | F#°7 | Am7 D7 |
| Am (vi) | E7 | G#°7 | Bø7 E7 |
In A minor: G7 → C (V/III), A7 → Dm (V/iv), C7 → F (V/VI), D7 → G (V/VII).
Real examples
- The Beatles, Yesterday (F major): F – Em7 – A7 – Dm. Em7–A7 is the ii–V of Dm: the vi is tonicized right away, before returning to F via Bb and C7.
- Bach, chorales: almost every phrase tonicizes a nearby degree (V, vi, IV) with a local cadence; it is the basis of Baroque harmonic "breathing."
- Jazz standards: Autumn Leaves alternates ii–V–I of the relative major and iiø–V–i of the minor; the two centers tonicize each other.
How to write it well
- The secondary leading tone (C# toward D, G# toward A) must rise; the seventh of the secondary dominant must fall.
- Do not tonicize the vii° (B°): a diminished chord cannot be a tonic.
- Vary the "strength": V7/x in root position is strong, V6/5/x (inversion) is softer, vii°7/x is more chromatic and dramatic.
- In pop, a tonicization of the vi or the IV in the pre-chorus raises expectation without losing the key of the chorus.
Exercise for the producer
- Basic progression in C: C – Am – F – G.
- Before Am insert E7 (half a bar): C – E7 – Am – F – G.
- Before F insert C7: C – E7 – Am – C7 – F – G.
- Try the ii–V version: C – Bø7 E7 – Am – Gm7 C7 – F – G. Listen to how each chord "becomes important."
- In the bass, make the leading tone rise (G#→A, E→F) to emphasize the tonicization.
Related topics
Secondary dominants and extended dominants, related ii–V and secondary ii–V, modulation techniques, prolongation, Riemann functions.