In AP Music Theory, the V chord (dominant) is the major triad built on the fifth scale degree; it carries dominant function, meaning it creates tension that resolves to the tonic (I), and it defines authentic cadences, deceptive progressions (V to vi), and secondary dominants like V/V.
The V chord is the triad built on the fifth scale degree of a key. In both major and minor keys (with the raised leading tone), it's a major triad made of root, major third, and perfect fifth. That major third is the leading tone of the key, and it's the engine of the whole chord. The leading tone wants to step up to tonic, so V wants to move to I. That gravitational pull is what we call dominant function.
Think of V as the question mark of tonal music and I as the answer. Almost every progression you analyze on the AP exam is some path toward V and then a resolution away from it. When V resolves to I, you get an authentic cadence. When V resolves somewhere else, usually to vi, you get the deceptive progression that the CED calls out by name (PIT-2.J.2). And when a chord acts like a V of some chord other than tonic, you've got a secondary dominant, like V/V. So the V chord isn't just one chord to memorize. It's the reference point the exam uses to define cadences, harmonic function, and tonicization.
The V chord sits at the center of Unit 5 (Harmony and Voice Leading II: Chord Progressions and Predominant Function) and shows up directly in Topic 5.2. Learning objective 5.2.A asks you to identify and describe harmonic function and progression in both performed and notated music, and you can't do that without knowing how V behaves. The essential knowledge here is specific. PIT-2.J.2 defines the deceptive progression as the dominant chord followed by a chord other than tonic, typically the submediant. So the vi chord's whole identity in Topic 5.2 is defined by its relationship to V. Beyond Unit 5, V is the hinge for predominant function (ii and IV exist to set up V), for cadence identification, and for secondary dominants and tonicization later in the course. If you understand what V does, the functional logic of the entire harmony sequence falls into place.
Keep studying AP Music Theory Unit 5
Visual cheatsheet
view galleryThe vi Chord and the Deceptive Progression (Unit 5)
The deceptive progression is V moving to vi instead of I. Your ear expects tonic, gets the submediant instead, and that surprise is the whole point. PIT-2.J.2 names this progression specifically, so you need to spot V going somewhere other than home.
Dominant Seventh Chord (Unit 4)
Add a minor seventh above the root of V and you get V7, which is dominant function with the volume turned up. The chordal seventh adds a second tendency tone that resolves down by step, making the pull to I even stronger. Same function, more tension.
Secondary Dominant (Unit 7)
A secondary dominant borrows V's job and applies it to another chord. V/V is the dominant of the dominant, so in C major that's a D major chord pulling toward G. This is how music tonicizes a chord, making it sound like a temporary tonic without fully changing key.
The ii Chord and Predominant Function (Unit 5)
Predominant chords like ii and IV exist to set up V. The standard functional pipeline is tonic, predominant, dominant, tonic. So V isn't just a chord in the progression, it's the destination that gives predominant chords their name.
Multiple-choice questions play V chord recognition both ways, from notation and by ear. You might see a figured bass or Roman numeral progression and have to identify the cadence type, or hear a phrase and decide whether V resolved to I (authentic) or got sidestepped to vi (deceptive). Practice questions also push the secondary-dominant angle, asking how a V/V chord in G major or C major contributes to tonicization, so be ready to explain that V/V temporarily treats the dominant as a tonic. On the FRQs, V is everywhere even when it isn't named. Part-writing questions expect you to resolve the leading tone correctly when V moves to I, and harmonization questions reward you for placing V at cadence points. Roman numeral analysis FRQs require you to label V (and V7) accurately, including inversions.
V is the dominant of the home key; V/V is the dominant of the dominant. In C major, V is a G major chord pulling toward C, while V/V is a D major chord pulling toward G. The giveaway is an accidental. V/V needs a raised note (F# in C major) to create a leading tone to scale degree 5. If you see a major chord on scale degree 2 with that chromatic alteration, it's V/V tonicizing the dominant, not a diatonic chord.
The V chord is built on the fifth scale degree and is a major triad in both major and minor keys, because minor keys raise the leading tone.
The leading tone inside the V chord is what creates dominant function, the pull toward resolution on the tonic chord.
V resolving to I creates an authentic cadence, while V moving to vi creates the deceptive progression named in PIT-2.J.2.
Predominant chords like ii and IV get their function from V, since their job is to lead into the dominant.
A secondary dominant like V/V applies dominant function to a chord other than tonic, temporarily tonicizing it.
In part writing, resolve the leading tone up to tonic when V moves to I, especially in outer voices.
The V chord, or dominant chord, is the triad built on the fifth scale degree of a key. It's a major triad (root, major third, perfect fifth) whose third is the leading tone, which is why V creates tension that resolves to the tonic chord (I).
No. V resolves to I most of the time (that's an authentic cadence), but the CED specifically names the deceptive progression, where V moves to a chord other than tonic, typically vi. AP questions love testing whether you can hear and label that surprise resolution.
V is a major triad; V7 adds a minor seventh above the root, creating a dominant seventh chord. Both have dominant function, but V7 has two tendency tones (the leading tone resolving up and the chordal seventh resolving down), so its pull toward I is stronger.
Yes, in functional harmony. Minor keys raise the seventh scale degree to create a leading tone, which turns the naturally minor v triad into a major V. Without that raised note, the chord loses its dominant pull, which is exactly what AP analysis questions check for.
V/V is a secondary dominant, the dominant of the dominant. In C major, V is G major and V/V is D major with an F#, pulling toward G as if G were a temporary tonic. That process is called tonicization, and it shows up regularly on AP multiple-choice and analysis questions.
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