Part III

In this final section on Grade 3 harmony, we will look at V/V (V of V) chords, and modulations to the dominant key.

V/V & Related Harmonies

v of v examples

In music of the Common Practice Period we find many chromatically altered chords. One type that is prevalent are what are known as secondary dominants.. The secondary dominant that we study in Grade 3 Harmony is V/V (V of V) and its related chords.

Here V is approached by its own dominant. In Grade 3 Harmony, this can include: V/V, V7/V, vii6/V and any inversions of these chords discussed so far.

With these chords, its as if there is a temporary shift in key from the notated one to that of the dominant. This is reflected on the staff by the accidentials in the chord, and the chordal analysis used.

For example, V/V in C major is D F# A. The root of V is G. The F# belongs to the key of G major. Its as if for these two chords the piece has temporarily shifted to G major producing V - I. In music theory, this effect is sometimes called a temporary tonicization of the dominant. On the staff, we will need to write in the appropriate accidental. 


                       A  -  B (s)
                       F# -  G (a)
                       D  -  D (ct)
---------------        -------
Bass:                  D  -  G
notated key       C+: V/V -  V
temporary key   ( G+:  V  -  I )


--


                       G  -  F# (a)
                       E  -  D  (s)
                       C# -  D  (a)
----------------     ----------
Bass:                  A  -  D
notated key       G+: V7/V -  V
temporary key   ( D+:  V7 -  I )


--


                       F  -  G (rrsd)
                       Bn -  C (a)
                       D  -  E (s)
----------------     ----------
Bass:                  D  -  C
notated key      F+: vii6/V -  V
temporary key  ( C+: vii6  -  I )