ABSTRACT
This chapter focuses on harmonies that include notes outside of the key signature. Such harmonies are known as chromatic harmonies (as opposed to diatonic), and the most common of them by far is the V/V (pronounced “five of five”). A simple way to think of this chord is as a chromatic variety of ii. It presents a direct comparison of ii and V/V, which are composed of the exact same scale degrees. The only difference between them is the ♯4̂ in V/V. The same is true of ii7 and V7/V. In addition to having every scale degree in common, both ii and V/V are typically (if not exclusively) employed as chords that proceed convincingly to V. In the minor mode it is also very common to tonicize the mediant, III. This harmonic motion sounds very natural to us because III is the tonal center of the relative major.
