V roman degree

Tension pulling home — the chord that 'wants to resolve' to I; it closes or opens sections. The dominant, the engine of the key.

Where it lives

7semitones from the tonic

Major mode

dominant 7th

7semitones from the tonic

Minor mode

dominant 7th

Hear it in context: Perfect Authentic Cadence

I Cmaj

IV Fmaj

V G7

I Cmaj

Piano sound loads on first tap. Resolved in the key of C — every chord links to its full analysis.

Progressions that use it

Perfect Authentic Cadence Pop Axis Progression '50s Doo-Wop Progression Passamezzo Moderno I-IV-V-IV I-V-IV-V I-IV-vi-V Rock Plagal Turnback Minor-Start Authentic Cadence IV-I-V-vi Andalusian Cadence (Lament)Minor Authentic Cadence I-Vsus-V-IV I-IVsus-IV-V ii–V–I Jazz Turnaround Rhythm Changes Turnaround ii-V-I-IV Extended ii–V–I Turnaround I-IV-ii-V I-V-vi-iii vi-IV-I-V I-iii-IV-V Minor ii°–V–i Cadence Minor-Sixth Turnback ii-Vsus-V-I I-Isus-IV-V I-iisus-ii-V I-I+-IV-V Secondary Dominant (V of ii)Secondary Dominant (V of V)Extended Secondary-Dominant Turnaround 12-Bar Blues Skeleton Blues Shuffle Turnaround Relative-Minor Secondary Dominant (V of V)Tonicized-vi Turnaround ii-V-I-IV7 I-IV-V-iii Extended ii–V–I (with vi)Descending Major Tetrachord i-bVI-bIII-V i-iv-bVI-V i-bIII+-bVI-V I-III+-vi-V I-#ivo-V-I I-#io-ii-V Ragtime Circle of Fifths Extended Ragtime Turnaround Barbershop Turnaround Neapolitan Cadence i-bVI-bII-V