A chord that resolves to the tonic chord

A chord that resolves to the dominant chord

A chord that resolves to a non-tonic chord

A chord that resolves to a non-dominant chord

To create tension and resolution

To add color and variety to the music

To help modulate to a new key

All of the above

By raising the fifth of the tonic chord

By lowering the fifth of the tonic chord

By raising the seventh of the tonic chord

By lowering the seventh of the tonic chord

The V7 of the V chord

The V7 of the IV chord

The V7 of the ii chord

The V7 of the vi chord

It has a raised fifth

It resolves to a non-tonic chord

It is preceded by a tonic chord

All of the above

A secondary dominant resolves to a non-tonic chord, while a primary dominant resolves to the tonic chord

A secondary dominant is formed by raising the fifth of the tonic chord, while a primary dominant is formed by raising the fifth of the dominant chord

A secondary dominant is used to create tension and resolution, while a primary dominant is used to add color and variety to the music

All of the above

Yes

No

It depends on the context

To create a sense of anticipation before a cadence

To add variety to a chord progression

To help modulate to a new key

All of the above

I - IV - V - I

I - V7/IV - IV - I

I - ii - V - I

I - vi - ii - V - I

G7

D7

A7

E7

E7

D7

G7

C7

I - IV - V - I

I - V7/IV - IV - I

I - ii - V - I

I - vi - ii - V - I

I - IV - V - I

I - V7/IV - IV - I

I - ii - V - I

I - vi - ii - V - I

I - IV - V - I

I - V7/IV - IV - I

I - ii - V - I

I - vi - ii - V - I

I - IV - V - I

I - V7/IV - IV - I

I - ii - V - I

I - vi - ii - V - I