Questions: Secondary Dominants

Question 1

In C major, what chord is V/V?

• A. A major
• B. D major
• C. G major
• D. B diminished

Answer: (B)

V in C major is G. To find V/V, you need the dominant of G — which is D major (built on the 5th scale degree of G major). D major introduces F#, a note chromatic to C major, giving V/V its characteristic raised sound before resolving to G.

Question 2

A secondary dominant permanently establishes a new key center.

• T. True
• F. False

Answer: False

This is the most common misconception about secondary dominants. They introduce a momentary dominant-to-tonic pull toward a non-tonic chord (tonicization), but the original key center is maintained. True modulation requires a more sustained and confirmed shift of tonal center — a secondary dominant alone does not accomplish this.

Question 3

Why does V/IV in C major require a Bb?

Model answer: V/IV is the dominant of IV. In C major, IV is F major. The dominant seventh of F major is C7 (C-E-G-Bb), and C7 contains a Bb — a note chromatic to C major's scale.

Any dominant seventh chord includes a minor seventh above its root. F major's dominant is C7, whose seventh is Bb. Since Bb does not appear in C major's diatonic scale, it must be introduced as a chromatic pitch. This Bb is what gives V/IV its distinctive flatward pull and makes its resolution to IV sound convincing.