Re: Unanswered Question #1

On Apr 6, 7:52 pm, ttw6...@[EMAIL PROTECTED]
 wrote:
> F. H. Shephard used the term "attendant chord" in 1889 to describe
> what we now call a secondary dominant. Composers had been using the
> construct for a couple of hundred years before that (without
> necessarily naming it.) I don't have an earlier reference yet.

II did find this in the Dolmetsch Online Dictionary it didn't say who
named this but it sounds related to Shephard's term. (the other quote
was from one of their theory sections.

Attendant keys: the attendant keys are the keys or scales most nearly
related to, or having most in common with, the principal key; those,
namely, of its fifth above, or dominant, its fifth below (fourth
above), or subdominant, and their relative minors (if the key is
major) and their relative majors (if the key is minor)

This does seem as if it could be related to the melodic aspect of the
the Attendant Chord although it could have an entirely different
origin. So my curiosity is increased as to how Shephard used the term.
If they are connected then I would think that if scales were assigned
to the chords that they would have been thinking along the lines of
modulation and if not that he just considered it a modal interchange
of something like that. (of course,, I don't see how this is a drastic
difference either as it still emphasizes a another chord as tonic
because of the major Dominant) . It might also allow tor an "Attendant
Chord" that would lead to the Sub Dominant! (A Secondary Plagal
function?)  and of course since scales are involved it might imply
that there could  be more than one chord  attending the tem****ary
tonic(?).

Then again, they may not have any relation at all to each other and
just be a coincidence that we stumbled on by looking.
Thanks for what ever you can find to fill in the details.
LJS