a. Dominant of the Dominant Chord in Major. In Major keys, the V/V chord can be thought of as a chromatically altered supertonic chord. It is written by raising the third of the diatonic chord by one half step to form a Major chord (measure one, Figure 13-8). The altered third functions as a secondary leading tone and normally resolves upward by half step to a diatonic note of a chord. The relationship between the secondary dominant chord (V/V) and the dominant chord is a temporary dominant to tonic function (measure two, Figure 13-8). Root movement between the secondary dominant chord and the dominant chord is a descending perfect fifth (measure three, Figure 13-8).

Figure 13-8. V/V Chord in Major

b. Dominant of the Dominant Chord in Minor. In minor keys, the V/V chord can be thought of as a chromatically altered supertonic chord. It is written by raising the third and the fifth of the diatonic chord by one half step to form a major chord (measure one, Figure 13-9). The altered third functions as a secondary leading tone and normally resolves upward by half step to a diatonic note of a chord. The relationship between the secondary dominant chord (V/V) and the dominant chord (V) is a temporary dominant to tonic function (measure two, Figure 13-9). Root movement between the secondary dominant chord and the dominant chord is a descending perfect fifth (measure three, Figure 13-9).

Figure 13-9. V/V Chord in Minor

c. When the dominant of the dominant (V/V) chord is used within a phrase, it adds greater harmonic drive to the progression (Figure 13-10).

Figure 13-10. V/V Chord Within a Phrase

d. The dominant of the dominant (V/V) chord serves a special function at a half cadence. It strengthens the drive to the dominant chord (Figure 13-11).

Figure 13-11. V/V Chord at a Half Cadence

e. The addition of the minor seventh to the V/V chord in root position, first inversion, second inversion, and third inversion forms the V7/V, V/V, V /V, and V/V chords. Figure 13-12 shows the V⁷/V chord in root position, first inversion, second inversion, and third inversion.

Figure 13-12. V⁷/V Chord in Root Position and in Inversions