A more subtle way to use secondary chords is to use them in their inversions. Just as with other inverted chords, inverted secondary chords have a different sound than their root position counterparts and are often used to create a more melodic bass line by connecting neighboring chords.
One important feature of inverted secondary chords that does not occur in the inversions of the basic (and seventh) chords we have learned about is the possibility for there to be a note outside of the scale in the bass. For example, iV/vi contains the scale degrees 3, ♯5, and 7. This means a V⁶/vi (a V/vi chord in first inversion) contains scale degree ♯5 in the bass. The bass note is the most important note in the chord; it’s why the color we give the chords in our notation reflects the color of the scale degree in the bass. As we do with melody notes that are outside the scale, when the bass of a chord is outside the scale, we color it to reflect the scale degree’s position. In this case, ♯5 is between scale degrees 5 and 6, so we color it blue and purple in a striped pattern.
The ♯5 in the bass of V⁶/vi makes the chord a great bridge between the V and the vi chord, connecting the bass line and leading to vi with its strong dominant pull. “Bad Romance” by Lady Gaga is an example of a song that uses this pattern:
Similarly, V⁶/V (a V/V in first inversion containing scale degrees 2, ♯4, and 6) is often used to connect IV and V. “Can You Feel the Love Tonight” by Elton John is an example of a song that does this:
In the second line, the final cadence is complemented by a strong ascending line in the bass. The ii → I⁶ → IV leading up to the V⁶/V is a progression we recognize from Hooktheory I. V⁶/V completes the pull to V giving us 2 → 3 → 4 → ♯4 → 5. This sequence acts as a nice countermelody to the actual melody that descends in step (4 → 3 → 2) with the ascending bass line.
In Chapter 1.4, we discussed how V⁷ chords in third inversion (V⁴₂) have a tendency to resolve to I chords in first inversion (I⁶) because the V⁴₂ has scale degree 4 in the bass and I⁶ has scale degree 3 in the bass. This same tendency is true of secondary chords and their targets. For example, it is common to use V⁷/IV in third inversion (V⁴₂/IV) to go to IV in first inversion (IV⁶). Since V⁷/IV contains scale degrees 1, 3, 5, and ♭7, V⁴₂/IV has a ♭7 in the bass that can slide nicely down to scale degree 6 in the bass of the IV⁶. “In Your Atmosphere” by John Mayer is a good example of this usage:
This pull from ♭7 to 6 in the bass works in other situations as well. For example, V⁴₂/IV can also work well before other chords with scale degree 6 in the bass. “Baby Love” by The Supremes is an example of a song that does this:
“Baby Love” resolves V⁴₂/IV (V⁷/IV in third inversion) to V/ii, a secondary chord we haven’t talked about yet. V/ii has scale degree 6 in the bass and works just like other secondary chords, typically resolving to its target (the ii chord in this case). V/ii is less common compared to the secondary chords we have mentioned previously, but it is still quite useful.
Lastly, it’s important to note that the tendency of third inversion "V⁷ of" chords to resolve to the first inversion of their target is not limited to V⁷/IV. The technique is just as effective with other target chords. “Waterloo” by ABBA, for example, uses a V⁷/V chord in third inversion (V⁴₂/V) to go to a V chord in first inversion (V⁶):
So far all the secondary chords we have discussed in this chapter have been a “five” of something. These secondary V chords are the most common and actually have a special name: “secondary dominants.” †
In the next section, we will broaden our definition of secondary chords (moving beyond secondary dominants) to include a few “non-five” chords that act in a similar manner.
Check for Understanding
Invert each of the following root position secondary chords so that the bass note is the note that is outside of the scale.
V/vi
V/V
V⁷/vi
V⁷/IV\
Check for Understanding
In this section, you’ve learned that one of the primary roles of inverting secondary chords is to gain access to chords with bass scale degrees that are outside of the scale. These chords are often used to bridge two neighboring chords by connecting their bass line. In each of the progressions below, replace the gray chord with an inverted secondary chord that connects the bass line.
Part 1 of 3
Part 2 of 3
Part 3 of 3
Check for Understanding
Root position secondary chords like V/vi tend to resolve to target chords (vi, in this case) that are also in root position.
When secondary chords are in first inversion (e.g. V⁶/vi), what inversion is typically used for the target chord?
When secondary chords are in third inversion (e.g., V⁴₂/IV), what inversion is typically used for the target chord?
Check for Understanding
Invert the following chords such that the given scale degree is the bass of the chord.
V/V, scale degree: 6
V⁷/vi , scale degree: 7
V⁷/V, scale degree: 1
V⁷/IV, scale degree: 1
V/vi, scale degree: ♯5
V⁷/IV, scale degree: 3
† Don’t confuse the term “secondary dominant” with the “dominant seventh” chord quality from the previous chapter. The word “dominant” is simply an alternative name that music theorists use to refer to iV chords (secondary or not).
Next up: Other Secondary Chords