13. Applied or secondary dominants

Authentic cadence

The authentic cadence (V - I or V7 - I) is a connection between the dominant and the tonic within a key.

We discussed this chord connection:

nvb V7 I a

  • the leading tone resolves (7-8)
  • the seventh of V descends to the third of I (4-3)
  • the bas jumps from 5 - 1

If you follow these patterns there are two possibilities:

  • Ending with a complete chord of I (V7 incomplete: see above)
  • Starting from a complete chord of V7 (I incomplete: see below)

nvb V7 I b

Of course it's possible to use a complete chord of V7 AND I. That's possible if the leading tone is in an inner voice. In that case it happens often that the leading tone doesn't move from 7-8, but jumps from 7-5. 

nvb V7 I c

Applied or secondary dominant

We can use degrees other than I as a "temporary tonic". This can be accomplished by adding extra leading tones within a scale or key. A chromatic element is then added. 

For example: in F

III - V (Am - Dm)

nvb TD a

can be changed to: 

nvb TD b

A - Dm (V) - VI the note c# moves as a leading tone to d.

Also a connection with a dominant seventh chord is perfectly possible;

A7 - Dm (V7) - VI.

nvb TD c

Which chords can be used a applied or secondary dominants? 

Within a key the degrees V and VII (and their extensions and variants) can be used as representants of the dominant function. Al these forms can also be used as applied dominant.

(Strictly speaking III contains also the leading tone of the key, the root of III is also present in the tonic and therefore not very convincing as a dominant.)