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The overall effect is to extend the dominant-tonic resolution over a three chord change. It helps create a little extra tension, making the final resolution that much stronger.
===ExampleExamples===
In C Major, the progression would be D - G - C. D is borrowed, as Dm is the diatonic chord. The raised F{{s}} that makes it a major chord also gives it the dominant function to resolve a half step to G, as part of the G chord.
{|class="wikitable"
|+
! !! V/V !! V !! Ior i
|-
! C Major
! G Major
| A || D || G
|-
! A Harm. Minor
| B || E || Am
|}
Notice that both of the first two progressions feature D - G. In G Major, it's V - I. In C Major, it's V/V - V. G Major is built on the fifth note of C Major; it is the ''V key''. In both progressions they contain the same basic dominant-resolution feel, yet by occurring at different parts of the V/V - V - I progression, they serve somewhat different functions. In the first example of C Major, it does not fully resolve to the actual I chord, getting us only halfway there; whereas in G Major, it completes the progression by landing on the true tonic chord. The A Harmonic Minor example illustrates that the technique works equally well for a minor tonality, when using the harmonic minor variation to get the major V chord.
=== Difference from Modulation ===