V/vi → vi: C – E7 – Am – G
E7 is the dominant of A. Hear G♯ in E7 rise to A in Am; the final G can lead back to C.
Guitar lessons · Updated September 10, 2026
Secondary Dominant Guitar Examples: E7–Am, A7–Dm & D7–G
A secondary dominant is a dominant chord aimed at a temporary target other than the home tonic. In C major, E7 points to Am: its G♯ rises a semitone to A. Practice the dominant and its resolution as a pair before putting them inside a longer progression.
Hear three temporary targets in C major
V/ii → ii: C – A7 – Dm – G
A7 points to Dm. Its C♯ leads upward to D, then G pulls the loop back toward C.
V/V → V: C – D7 – G – C
D7 is the dominant of G. Follow F♯ upward to G before the final return to C.
Find the target before naming the chord
| Dominant | Temporary target | Analysis in C major | Leading-note motion |
|---|---|---|---|
| E7 | Am | V7/vi → vi | G♯ → A |
| A7 | Dm | V7/ii → ii | C♯ → D |
| D7 | G | V7/V → V | F♯ → G |
The slash means “of”: V/V is the dominant of the dominant. It is not a slash-chord bass instruction. By contrast, C/E means a C chord with E in the bass.
Insert one dominant without losing the melody
Pick a target chord in your progression, then try its dominant immediately before it. Hold the melody still at first and listen for a clash with the new third. If the melody uses G natural over E7, for example, compare moving it to G♯ or delaying it until Am.
For single-note practice, choose Dominant 7 in the Arpeggio Trainer and name its third before resolving that note upward. For the harmonic definition and more context, use the secondary-dominant theory reference.