Lesson 26: Applied Chords to V

Key Takeaways

Applied dominants to V contain raised scale degree 4̂ (the local leading tone)—normally an accidental that resolves up to scale degree 5̂
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; diatonic-to-target minor form
viiø⁷/V	Half-dim. 7th	F♯–A–C–E	Usually root position; diatonic-to-target major form

In parallel C major and C minor, the same applied-chord spellings can be used; what changes is which notes need accidentals. The half-diminished form matches the target major key, while the fully diminished form supplies the lowered seventh associated with target minor and mixture

Raised 4̂ (local leading tone) resolves up by half-step to scale degree 5̂
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 4̂ can move down by half-step to accommodate the 7th ▶ 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 4̂ is not always in the bass—it can appear in any voice; look for the accidental ▶ 19:00
Minor keys often need two accidentals—raise both 4̂ and 6̂ for V/V ▶ 20:12
vii°⁷/V in major needs two accidentals—raised 4̂ plus lowered 3̂; this creates parallel chromatic sixths with bass (♯4̂–5̂ in bass, 2̂–♭3̂–3̂ in soprano) ▶ 23:18

Mozart Requiem: minor key applied chord with two accidentals

Mozart Coronation Concerto: vii°⁷/V with lowered 3̂ 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 5̂ 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 5̂
- Chordal 7th → down by step
- In minor: you will often need two accidentals (raised 4̂ and raised 6̂)

Step	Work
Key of E♭ major	Key sig: B♭, E♭, A♭
Scale degree 5̂ = 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 4̂)
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.