:- 25 Applied Dominc\.

01§ of V

V of V, or VN, is an applied dominant chord-the

dominant of the dominant-that leads to V.

Tonicization and Applied Dominants VN in Minor Keys

VN Other Resolutions of VN and V7N
The Secondary Leading Tone A Closer Look
V6N Cross relations
V'N in Root Position and Inversions

TO NIC IZATION AN D A PPLIED DO MIN ANTS

In rhe middle of a compos irion ir is possible ro momentarily rreat .t nore ocher

rhan ias though ir were the conic. Such a momentary change of key, kn own as a
tonicization, aJmost always requires rhe use of an accidenraJ.

25.1 Chorale melody, "Jesu Le.iden, Pein und Tod" ("Jesus' suffering, pain and death")
! · • · · · · · · ·· · • • H O ·••UO 00 ••···••lol0000 10 IISa ~ - ♦ otf O•O• • • •••.. •• •••~ •••000 •0000-•••••• •••·••••••••••••••oooOooooooooooo . . oo o o • •••••• • ••oho •• • •

j A (5 of D ) i s creacc:d m omeniarily as a conic by being preceded by ics own leading cone, j

' G~ (the leading ro n e in the key of A ). )
,__., . .-,,.-,,.,, _ _ , .___, _.__,,._,,_ _,, .........._ ._..,......,_,,, •-••--o'"4'•-•-•-•"••••--••tte.,. ..- , . •..•••-••••~.,._.•-•-••••·••-••••••••,--, ••• •=

key of D : 3 i 2. j ~4 -~ 5 6 5 4 3 i i
~~#c J J J J IJ ® A I r J ~J .FJ I J J II
(= 7 i in key of A)
--·········· . . ;._

; The melod y s tartS in D . . . i ;: ... tonic,z.e.s

.. A . . . :i
! ... chen rerurns to the key of D. l
~ ·.-- --- - - --••'l.•- •--~- "f'••J L... - - - ~·-·--··-·' .•-••••••._•-•••..-- ••h••·------ - - - --••••·•-.. •••• · , :
,,,..,..;

Jmc as a note can be ronicized, any major or minor triad can be conicized if
ir 1s preced ed by an applied dominant (also known as a secondary dominant) .
An applied d o minant contains a chroma tic note and functions as a Dominant o f a
harmon y o rher than I.

226 I CHAPTER 25 Appli ed Dominants of V

V/V
The most common applied dominant is V ofV, notated as VN. Just as V is a major
triad whose root is a perfect fifth above I, VN is a major triad whose root is a perfect
fifth above V.

25.2
Task: Find VN in the key of D.
1. The root ofV in the key of D = A.
2. V in che key of A= ~Gtl-B.
3 . Thus V/V in the key of D = ~Gtl-B.
,,
. - ...
~

... ..

l
~
: i
~ 1 The root ofVN (E) is a perfecr fifth above i
: f
2 i
.-
P5 ) the root ofV (A).
:··-···-···..·······......._..........................................._..____________..:
-
D: V V IV
: j
i V/ V must be a major rriad; irs third must be raised :
: !
\ with an accidental (G# = leading tone of A). i
:................... ···········-··········- ···· ····-·-·············· ·-········-···-- .••..•.1

Just as V leads co I, V/V leads co V.

:··················································-· ... .......... . :
.

25.3
j The progression VN-V in D m ajo r has the same no tes as V-1 in A. j
............................·-····.....----·-·--......-......... _,, ____________________. ...........___ .....
(~G#-B) (A-0!-E) (E-G#-B) (A-0!-E)

--
l'I ~ H'.
..
..
I I I

I I

D: I VIV V A: V I

[ V/V leads directly to V.

----------~
............................................ .......
I
. ···········•......................-•................... .

I I I

I I l T

D: V/V
I
V VIV
I

V D: V IV 'I(? !)
(~ ~,--~~·~~----·; ;; ··;~·~·~ ~··~~-V (o r . (~
~
; Poor
-
V/V rnusr j
I
"!· rc pears and 1.hcn goes ro V). ; go ro V, n o r ro I! ,
' • ••••••..•••-•••--••H-•• ..••••••- • "'••-••uo-••••,.••- --••••• '·--··········-··········--···..····.........:
VIV I 227
 25.4 "Vom Himmd Hoch" (hymn)

-.. ... -I --I

.J .~ lJ I I I I I I
•
·-- I--
,
' .., ,

I I
,
-·-· ,
,
,~ -
r~
,-
T I I PT I I
J
-
; ;- ; .J;- .d. J
...-.. .. ....- - - - ,,I -
--
~

,,
~
I I I
D: I V I
(=A: V
VIV
~I (6 IV vii06 I

Notice that the root ofVN is i. It thus has the same nores as a ii chord with the
third raised by a half stc:p.

25.5
Task: Fmd VN in D (altcm.atlvc method).
1. ii in D= E-G-B.
2. Thus VIV in D = E-G~B.

if II
D: ii V IV

,"I
. ,, .
~
~ .. ,_ -•
,,.
- -
-
~r.) ..= ·---
I) I I
- I
I

1..·-- . - -- - - -- --
I I I I
D: ii V VIV V
(mino r triad ) (major triad
3rd of ch ord is raised)

/ To fi n~--~ ~~oces ~-~-~~you may firsr find the notes of ii, then raise the third of t.h~-~-~;~·:· ··!
-·----·-···..··-------··---~----·
Since V/V points direcrly co rhe V c.har follows it, any chord that can precede
V- such as a Tonic o r Subdo minant triad, o r another V rriad-may also precede VN.

25.6

C: VIV V C: IV VIV V C: V VIV vs-7

VI V may folio-~ I, IV, V, or any od1c·r chord drn c:in precc:di: V. :

228 I CHAPTER 25 I Applied Dommanl.S of V

THE SECONDARY LEADING TONE

Notice that che chi rd of VN is raised 4, which is che leading cone in che key ofV (che
key in which the V chord would be the conic). This raised cone requires an accidencaJ .
25.7
·····•··············..···························i
•
••••••••••••••••• ••••••••oo•••••••• •·• •••• ••• ••••••••••• • • • ••••••••••'"
!
j Raised 4 of ~ (0) = leading cone of F ! j Raised 4 of E (M) = leading cone of B 1
•• , . . . . . . . . . . . . . . . . . . . • • • u • • u o uoooo o o,ooouoo,ooooUl•·••o
oooooooooOo••n'"Oo h• •••••••..... ..., .. •••••••• .. •••••..••..,•••••u .. •••oa-•••u•••••••• • .. ••• .. ••-•••

B~: I VIV V E: VIV V

The raised cone in VN should be treated as a leading cone: ir may nor be dou-
bled, and if it appears in an outer voice ic resolves up by seep when VN moves co V.
25.8

if!f.
·r
Poor The raised chird
within V N fu nctions as the
i
l
lo} .....................................................................

·(
Poor Since iC funcrio ns as
the: leading ronc 10 V, the: raised
I
l
1 leading tone co V and thus 1 l third within VN muse resolve !
/ should not be doubled. / I·.............................................................-....·j
up when in the·soprano.
...................................................................·

C: VIV V C: V IV V C: V IV V

V6/V
6 6
V/ V may also appear in first inversion- notated as Y N. Just as V leads to a root-
position I, V6/ V leads co a root-posit ion V.
25.9 25.10 Isabella Leonarda , Mag11ificat

V6/V V
D:
·"

IJO/V I 229
V7/V IN ROOT POSI TIO N AN D INVERSIO NS
A dominant sc:vemh chord (a major triad plus a minor seventh) may also be used as an
applied dominant ofV (as V 7/V). Just as with a V7, you may use all four notes ofV7/V
in four-part harmony, or you may omit the fifth and double the root.
25.11
----.. .-·••-·"-········- ·----·-- --·---··-..-·················...-..-...........- -.................................. .. :
V'N u a dominant seventh chord; ic has 1he same n ores as VN, plus a minor seventh above ics rooc. ~
----- - --- - - -·....·---- ·-········---··..----····---·····------·- -·"·············"·-···········"

\. The third ofV7N (8,,) must be raised by a half scc~... l

l with an accidcnc.a.l (co ~ ) . The chordal seventh of i
j V' N (F, i) resolves down byscep. j
:.•- • - - - - • -••••-•-•-•- •---•••• • • • - - - ••• •..••••••• .. ao•••• ••••:

F: Vl/ V V
·-- -- -·------- ---····-·-- ----·-···-- ·--·······--·
1 V'N--G-B:-F, wich the fifth (D) omiccc~leads co V. ..J
25.12 Gioachino Rossini,// Turco in Italia, Act I, scene viii
n pas - sa - co ed il fu · tu ro, chi de · sia di pe - ne • trar?
..., - -.. -
.JI\ ~ - I I
-
-
I I I

- - --
~ ~

~ =
p
L

- - - - ---.....___,
- ~
-
t
-··-.. .. -.· ~=.
p.

~,
- - -&
L
- - - - - -
- n -

D: I
I
vf
I

Vl / V
(= A : V7
;

Tr.uul.ation: The pas1 and the fu,u re. who seeks to pe ne, r.ue them?
) V'N (F.,-G;-~-D) leads co V. . .
~
l
• •U-~-•---•. ,--••--••••••••-• o••••••••••••i

25.13 Anhur Sullivan, "A Wanderin g Minstrel," from 11,e Mikado

and snat•chcs, And dream · y Jul - la • by!_ _ __

F: v~ V7 (repeats)
I( = C: V7
V7/ V

V'IV (G- B:-D - F) lcad~..10 _::_J

2" 0 I CHAPTER 25 i\pplled Dominants of V
 V7/ V may appear either in root position or in any inversion. In each case, the
inversion ofV7/ V functions like the analogous inverted V7 chord, except that it leads
to a Dominant instead of a Tonic. For instance, just as \1 leads co J6 (nor to I), V i N
leads to V6 (not V).

25.1 4

G: lvVv V6 I
......................................................................................... : . . -· ···1
I V!IV leads to V6, since the chordal seventh
j in che bass muse resolve down by seep.
I
\ ~N leads to V, since the raised rone in che bass !
I ! (the leading cone of V) must resolve up by seep. I
:
h ooo,o•-••ou o oou,,. uooo • ............ . . .. . . .. . -••-••• - - -•uuu,.,,...,__ ,..., Io Oo•-•·•-••o.-.o •-··-•• •••·•••- ·O ---·-• -·--••••• ..•·•·•-•"-t0_.,.0_.______...

25.15 Felix Mendelssohn, Songs withottt Words, Op. 19, No. 1

canta::b:.::il:::.e_ _ _ _ _ _ _ __

E: V7 vj J6 !v~/v
.+
vi lv11v
.....
V6

....... : ............................................_,.....•... :......... ..

: i
l V7N may appear in any inversion. j
' •· - • • • • • - - - · · • - - - • • - - - - • I

V/V IN MI NOR KEYS

Applied dominants ofV also may be found in minor keys. In minor keys V/V requires
two accidentals, raised 4 and raised 6.
25.16

G min.: Gmin.: VIV V

~
.....
.····································i·······························.
{0,) I
1

Poor A-0:-B is no~ a·:~;~·~·········· -:~ } Good In minor keys, V/V

i criad (no tice the key s1gnarurc:). Y requires ILl•u accidentals. •
..........................................................................
I
:·······················-·-··---··-·-··········--·..I

VN m Mlnor Keys I 231

25.17 Frederic Chopin, Ballade No. 1 in G Minor, Op. 23

G min.: i6 um
.... V7 /V V
.······..··-·····-··---·-················..·······. . ............_ t
l ii.'J' in G minor is A-C-E.l.-G. i L.Y'N in G min~r.is_A-0-£;-G._..l
: ····-···-·-·--··· --·····-······-·· ····--·· !

OTH ER RE SOLUTIO NS OF V/V AND V7/V

An applied dominant m ay lead to a V chord that is decorated by a cadential t
25.18
..... ........................................................
I i
: The applied dominant ofV \_.: ,
leads through a cadcmial ~
co V, delaying chc resolution
of G (chc chordal seventh
i within ~ /\/) down to F;.
.
.••••••0•••..•••••••0-................, ......... ..••••••••~••
~

G: I 16 vtlV V 64 -- JS
(cad. ~-V)

An applied dominant at times may also lead co a V7 chord, instead ofleading co

a V triad. In such a case, a panicu larly beautiful voice leading can sometimes be used.
Usually, raised 4 (a leadi ng cone directed up lo 5) ascends to 5. W11en V7 N moves ro
V7, however, raised 4 may instead slide down by a ha.If seep, canceling the chromatic
a.Iteration to 4. This is possible even if the raised 4 appears in the top voice.

i- .
25.19

l..
t)
f

~
r
I

•• •
I
I
I

... .. -
r
,.._

u
,

;_,.
-.. .. .
~
I

,.
5,

I
~4 ' ~4
I •

,.
I
3

Eb: ' I
I
V 1/ V v s-1 E~: I V1/V V7
······················
Good r.ii.:.cd 10nc within V~/V,
A; 1hc
lend~tu resolve up by Hep, :is a leading tone
-~ Also good A, in the top voice docs nor I
' lead up co B, ~ c:xpcc1cd, bu, inrn:ad slides
of I he ton ici,.cd key of B:,. down to A,, as 1hc applied dominJnt ofV
leads clirccrly to V'.

232 1 CHAPTER 25 I Applied Dominants ol V

25.20 Hortense de Beauhamais, "Reine Berthe" ("Queen Berthe")
.............................................................................................................................
: i
l. ............
Raised 4slides down by semitone to 4when VIV moves to \/7. \
, ............., .........................................................-..·····~·····················~--····
raised 4(E~-+ 4(Eb)

Bb: IV (6 V71 V7

~ To learn about cross relations, seeACloser Look.

POINT S FOR REVIEW

• An applied dominant is a chord that functions as a dominant of a harmony other

than the tonic.

• The most common applied dominants arc VN and V'N (read "V ofV" and "Y7 of
V''), which may appear in root position or inversion.

• VN leads to a Dominant (Y, V', inversions ofV or V7, or a cadcntial t followed by

V); it may follow any chord that can precede V (any Tonic or Subdominant chord).

• The root ofVN is 2 (a perfect fifth above 5).

• VN must be a major triad1V7N is a dominant-seventh-type chord (a major ttiad

with a minor seventh). The third of both VN and V7N must be raised by a half step
with an accidental.

• The raised tone in VN is raised 4, which is the same as the leading tone in the
key ofV.

• The raised tone within VN must be treated like a leading tone: it may not be
doubled, and it normally resolves up by step If it appears in an outer voice.

• IfVN resolves to V7, the raised 4 may slide down by chromatic semitone to 4, even if
it appears in the to p voice.

• In minor keys, two notes withln VN must be raised with accidentals, land 6.

Points tor Review 1 233

 TEST YOURSELF

1. Which of the following chords m ay follow VN?

a. V or V6 b. I c. IV or ii6 d. V7 e. cademial ~-V f. another VN

2. \'v'hich of the following chords may precede VIV?

a. V or V6 b. I c. IV or iib d. cadenrial ~- V e. another VIV

3. What accidentals arc missing in the fo llowing VIV and V7N chords? (Each o ne is miss-
ing one or cwo accidem:i.ls.)
a. b. c. d. e. f.

~~ u ll&bb 0 II i;l1 ft 6
11&b6FO II ~ff#I u Iii~ II II
G: V IV Ek V/ V B~: VIV Bl.min.: VIV E: V7/V Emin.: V7/V

4. Whar is the roor ofVN in these k~?

a. F major b. D major c. E major d. E minor e. M major f. AJ, minor

5. Whar a.re the nores in VN in these k~? Specify which notes need accidentals.
a . F major b. D major c. E major d . Q major

6. Whar .arc the no res in V7N in these keys? Specify which norcs need accidentals.
a . F minor b . D m inor c. E minor d. Q minor

234 I CHAPTER 2 5 I Applied Dominants of'/

 Other Applied Chor,~~ . .. '.:'.:''"~.

An applied chord functions like a Dominant, but leads to a

harmony other than I.

Applied V and V7 Applied vii06 and vii07

In major keys Using Applied Chords in Harmonizing Melodies
In minor keys

APPLIED V AND V7
As discussed in the previous chapter, an applied dominant chord funcdons as a
Dominant, but leads to a harmony other than I. An applied dominant can lead (or
be applied) not only co V, but also to any major or minor triad. Thus Viii leads to ii,
Vivi leads to vi, and so on. In each case, the applied dominant may be a triad or seventh
chord in root position or inversion. AJI applied chords to11icia the chord ro which chey
are applied, momentarily creating the goal chord as tonic. The resolution of an applied
dominant creates a Dominant-co-Tonic progression within the key of che tonicized
chord.

26.1 V /vi= E-G~-B V11ii = G-A-C~- E

I I I I I
'
( t.l . -
.r
,, , .~
~
-
~
~

~ '

- -
~ ~

=. ., --
~

I T -r-
.,_
- '
...
~
I

,
, ~

- ,
I

C: V Vi vi vi V1/ii V
.,.., .. .................► ._____"'___.

lC
······••· ..... .........................................:.......
llic A minor chord (vi in C major) Thi: D minor 1riau (ii in
is ron icizc<l: tht: progression from C major) is 1011ici1.cd; t.h,:
Vivi ro vi in C has rill· ~aml· no1c., prugrc.\sion from VJ/ii w ii'" in C
Amin,; V I an<l fonclion as V ro i in A minor. 1~ like V~ to i" in D minor. D min : V1 1•

....__
V_ = E-C#-
_
B
______j . ........ .... -••·· ····-· - -· ···..•·••••••••••• ............... _._ .
V1 :: G- A- Ct-E

Applied V and V' I 235