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If it ends on V, it's an imperfect cadence. If it's ended on I in a new key, it's a perfect cadence. (I'm using the British terms, but same difference). One secondary dominant seventh doesn't necessarily make a modulation. But it might. What happens next? A section in G major? A return to C major? Or maybe both - a repeat back to the beginning (C ...


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Secondary dominants were classified as "modulations" by 18th and 19th century music theorists, and the term "transient modulation" was used when the modulation only lasted for the two chords in question, but in the 20th century they were re-classified as "secondary dominants" which could appear before a chord on any degree of the scale. Aurally, you don't ...


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You nearly answered it yourself. Calling the last chord V makes it unfinished - an imperfect cadence (half). What happened to get to the V doesn't really come into the equation, although, as Bob says, that in itself may be considered a perfect cadence - but only when the part is in that key. As in the key of G - which it isn't.


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It is half cadence, but I will try to explain it to you as simply as I can: It will not give the listener the 'ending' feel. The ending feel will be on the V-I. The way someone listens to the V7/V - V is like this: Uh? This is a really dissonant chord (V7/V) No wait, it wasn't dissonant; it sounds good with this one (V) But because the V has the ...


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Assuming that you still feel C Major as the home key, and haven't modulated to G Major, this is a half-cadence (imperfect). Although, I see why you are asking the question; the movement V7/V to V is harmonically the same as a V7-I perfect cadence in the dominant, G Major. But it is functionally different with respect to C Major.



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