secondary dominants

Applied V and VII

Any major or minor triad within a key may be preceded by an "applied" V or VII. The applied chord may be a triad or seventh chord in root position or inversion. Applied V and VII chords function as temporary dominants to the chord that follows it.

Because this kind of dominant function represents a local embellishment of a diatonic triad, its dominant function is secondary to the dominant of the home key. In fact "applied chords" are sometimes called "secondary" dominants.

Here is a table of frequently used applied chords and there local destinations. Notice again how harmonic function (column 2) is determined by melodic tendencies of the bass (column 3).

V, V⁷	leads to root position triads	bass moves by skip
V⁶, V⁶₅, vii^o7	resolves to root position triads	bass acts as temporary LT
vii^o6, V⁴₃, vii^o6₅	may resolve EITHER to a first inversion or a root position triads	bass free to move up or down by step
V⁴₂, vii^o4₃	resolves to first inversion triads	bass MUST resolve down by step

Voice-Leading Fundamentals

Never double the TEMPORARY leading tone. Especially if:
- the bass has the leading tone of the applied chord.
- the cross relation is in the same register (i.e., between adjacent upper voices).
- there is a chromaticized voice-exchange.
A direct chromatic succession sounds best when it appears in the same voice--cross relations are generally avoided.
When an applied VII^o7 leads to V, the diminished seventh will resolve irregularly in order to avoid a doubled leading tone.
Applied V and VII often occur in sequences, tonicizing certain triads along the way. As with all sequences, the overall harmonic goal of the sequence is a more important formal goal than the transient goals within the sequence. (See Keyboard Exercise 3.)

Last update 03.27.99