Lesson 26: Applied Chords to V

Key Takeaways

Applied dominants to V contain raised scale degree iv (the local leading tone) — always an accidental, always resolves up to scale degree V
Spell and resolve applied chords as if they were functioning in their "home key" (e.g., V⁶/V resolves exactly like V⁶ in the key of V)
Label by function, not root — calling a chord "V⁷/V" tells you where it goes; calling it "II⁷" tells you almost nothing useful

Applied dominant (= secondary dominant = applied chord): a chord with dominant quality that resolves to something other than tonic
Applied chords to V function as predominants — chromatic dissonance gives a stronger push to V than diatonic PD chords
Applied chords ≠ modulation; the key has not changed unless confirmed by what follows

Mozart string quartet analysis showing V⁶/V resolving to V

Symbol	Quality	Notes (C major/minor)	Common inversions
V/V	Major triad	D–F♯–A	Any; less common (less dissonant)
V⁷/V	Dom. 7th	D–F♯–A–C	Any
vii°/V	Dim. triad	F♯–A–C	1st inversion mainly
vii°⁷/V	Fully dim. 7th	F♯–A–C–E♭	Any except ²; major only
viiø⁷/V	Half-dim. 7th	F♯–A–C–E	Any; minor only (nearly always root pos.)

All applied chords to V are identical in major and minor (except vii°⁷/V = major only; viiø⁷/V = minor only)

Applied chord family with C as tonic

Raised iv (local leading tone) resolves up by half-step to scale degree V
Chordal 7th resolves down by step; chordal 5th steps down; root is common tone
Frustrated leading tone: when an applied V⁷ resolves to V⁷ (not just V), raised iv moves down by half-step to accommodate the 7th — this is normal and expected ▶ 26:31

Resolves to cad. ⁶₄ — applied chord → cad. ⁶₄ → V is very common; G♯ is often a common tone ▶ 15:42
Applied chord as the only PD — no diatonic predominant required before it ▶ 18:02
Raised iv not always in bass — it can appear in any voice; look for the accidental ▶ 19:00
Minor keys need two accidentals — raise both scale degree iv and scale degree vi ▶ 20:12
vii°⁷/V in major needs two accidentals — raised iv + lowered scale degree iii; creates parallel chromatic sixths with bass (♯iv–V in bass, ii–♭iii–iii in soprano) ▶ 23:18

Mozart Requiem: minor key applied chord with two accidentals

Mozart Coronation Concerto: vii°⁷/V with lowered iii in major

A phrase ending on root-position V⁷/V → V can be heard as half cadence in original key or PAC in the key of V — genuinely ambiguous until context confirms
Analysis walkthrough of Mozart Piano Sonata in D major: ▶ 29:00

Find scale degree 5 of your key — this is the chord your applied chord resolves to
Pretend that note is tonic. Build the chord you need (V, V⁷, vii°, vii°⁷, viiø⁷) in that temporary key using its own key signature
Compare to the real key signature. Any note that differs from the home key requires an accidental — sharps, flats, or naturals
Resolve by tendency:
- Raised note (local leading tone) → up by half-step to scale degree 5
- Chordal 7th → down by step
- In minor: you will often need two accidentals (raised iv and raised vi)

Step	Work
Key of E♭ major	Key sig: B♭, E♭, A♭
Scale degree 5 = B♭	Target chord resolves to B♭
Build V⁷ in B♭ major	F–A–C–E♭ (dom. 7th on F)
Compare to E♭ major	A♮ is chromatic (home key has A♭)
Accidental needed	A♮ (= raised scale degree iv)
Resolution	A♮ resolves up to B♭; E♭ (7th) resolves down to D

Result: F–A♮–C–E♭ → B♭ chord — one accidental (♮ before A).

Supplementary context from Kostka & Payne, Tonal Harmony (8th ed.), Ch. 16.