If you like these lessons, definitely check out www.zombieguitar.com/ It is a one-of-a-kind site dedicated to helping guitarists to understand the fretboard and create their own music. You will love it!!
A one-of-a-kind site ??? That's like saying the ocean is moist ! Zombie Guitar is by far the clearest most informative website that I have ever had the enjoyment of learning from. I've learned more from this website that I've learned in the past 40+ years that I've been playing music !!! ~ Michael C #1 Zombie fan !!!
Im trying to improve my piano chord progressions and you really helped make a lot of confusing approaches to developing chord progressions very clear.. Your awesome.. Song writers can learn a lot from your videos, not just guitarist imho.!! Sub!!! and thank you!
I've watched your videos so many times. I have a sedimentary type of intelligence, small, thin layers of facts and knowledge accumulate over the decades of my life, eventually forming actual understanding. Most people just set out to learn something and they learn it. I set out to learn something, and after 7 years, I'm like, oh this was easy, why didn't I understand it sooner ?It's taken me many years to realize it's because I'm stupid now. It took me 15 years to learn the names of the keys on the piano keyboard. Super sharp one here, brother, yes indeed.
Don’t beat yourself up bro. Learn at ur pace, and concentrate on making music at the best of your ability at every level you’re at.👌🏾✊🏾JUST DONT STOP LEARNING
By far best explanation I have heard with visual examples. Excellent teacher. They say “repetition is the mother of retention” and this proves that simple teaching instead of doctors music language is far the best.
Brian, thanks very much for your videos on the circle of fifths. With teachers like you they can cut the entire program at music universities down to one month instead of four years! Extremely useful and fun.
Hey Brian, just wanted to say - I don't care what you're wearing and the thumbnails couldn't be more informative. I've learned more from you than any other teacher on TH-cam, what you showed me about chord tone soloing set me free from minor pentatonic land where I'd been stuck for years. I owe you a debt of gratitude man, and I know I'm not the only one judging by the Comments you always get. Liked and already subscribed! : )
As usual, the best lesson on the chosen subject on You Tube IMHO. A fairly tricky formula explained in an easy to understand manner. 3 years on and the content is still at the top of the game without resorting to clickbait or gimmicks. Solid content all the way.
I've watched hundreds of lessons from many teachers on TH-cam and Jamplay. . . .these for me are up there with the best, conveying info. rather than ego Thank you Brian
krista96 hey thanks for the comment, I really appreciate that! I'm trying to spread the word about my website where you can find all of my lesson videos for free in a nicely organized manner - www.zombieguitar.com. Definitely check it out if you get a chance, and thanks for watching!
Under every videon on youtube, that teaches smth, there always ONE comment sayin that it seen 1000000 videos but THIS particualar video is THE BEST ever
Brian Kelly Brian, thanks so much for all your free lessons. You deserve more views. I refer anyone interested in music/guitar to your TH-cam channel. I hope teaching music pays off huge for you. You really deserve it! Thanks so much again!
Brian ... Every chance I get I point everyone in the direction of your website, youtube vids, and facebook group in hopes that you get more subscriptions and paying customers. It's the least that I can for all the hard work that you've put in with everything and all the help that you continue to be with my theory studies. You are appreciated bro, multiple gratitude ... Rock on !!!
Your explanations are from a perspective that I've not already seen on videos before. Powerful knowledge with good examples! bravo, keep up the good work
Hey, man. Am never disappointed by your uploads. I don't know how long you have been teaching but I think any student of yours will be fortunate to receive instruction from you as you deliver the material in a very concise, logical and impactful manner. Hope this helps to motivate you to continue along your chosen path as I am sure it is not an easy one.
Great lesson once again. Thanks for making this video Brian. Your way of explaining it cleared things up for me since the theory books I had read on it were not clear in explaining it at all - much appreciated!!!
Brian, this is a fantastically clear explanation which I watched after several others that left me in the dark, you have a gift for explanation. Thanks for this.
Brian.. thanks for all your theoritical lessons.. they are very well explained and very helpful...it helped me immensely..... you are doing a great job... God bless you for your talent........look forward to your videos always.......🙏👍
brother am i the only one who understand everything what you saying your demonstration i get everything what i need to learn in guitar thank you brian i am all the way from nepal lots of love left hand sanjay
Thanks for all your information. I watch the theory videos and I’ve learned a lot. I don’t play the guitar but I find information that I can apply to the ukulele. I clicked on your circle of fifths video and went from there. You give a lot of information but concisely and to the point. I usually have to watch the video a couple times to grasp it since I’ve no musical background. This has been very helpful to me.
I love all these lessons you have. I have been learning new guitar off of TH-cam for years, and this channel is by far the best one I’ve ever come across. It’s advanced stuff but it’s so easy to understand. Thank you
Hey Bryan thanks so much for your lessons! You shine light on so many areas I seen hidden. You’ve used tools like the circle of fifths in your lessons to open up which seem to be a mysterious complex system.It now is so plain and simple that I feel as if I’ve been walking for 20 years while there were planes at my disposal right next door.
this small tricks like the one at 5:35 are what i like about your videos! :) i did not think about this easy help at the moment and only would have seen it only a lot of time later by myself. (hopefully haha)
After 4 Years learning, now i can say; You are the most effective Guitarist here. I spend a lot of Time with your leesons to get better and better. It makes a lot of fun i really enjoy all your lessons, Its much Stuff guitar theory ))) but u help me soooo much, to understand what is Music and how does it works Nice greets from Germany ;-)
Thank you so much for spending your time teaching . I get more out of your explanations of theory than most teachers on here. At least you make it interesting 😁. Keep on keeping on brother 😁
I thank you for these free lessons. I've been good at what I knew at my small church, but you get around musicians that know their stuff, you'd better know yours. Ignorance is no excuse in these days and time.
Well, 5 K subscribers without giving it a second thought says a lot about what you have to offer. Hope you have local students because you are an excellent teachers and that is a precious - if undervalued, like the arts - commodity in our society.
Hey man great lesson! I've been struggling a lot with writing good chord progressions. This really opened a new world for me. Would love more chord progression lessons if you can. My rhythm guitar game is weak.
Jawshua haha Lots more to come. All lessons regarding chords/chord progressions can found here on this page: www.zombieguitar.com/the-chords-and-chord-progressions-page/. I will be adding several more to this page over the next month!
In the key of C you can use the diatonic chords C, Dm, Em, F, G, Am and Bm-5. Add secondary dominants and you can also use C7, D7, E7, F7, A7 and B7 when playing in the key of C. Add tritone substitution and you can also use F#7, G#7, Bb7, C#7 and D#7 when playing in the key of C. So your next lesson could be explaining tritone substitution :-)
Great videos! How do you explain when the iii chord is used as a Secondary Dom but moves to the IV chord instead of the V? We hear that a lot. why does that work? Thanks
Well if the iii chord moves to the IV chord, than it wouldn't be functioning as a "dominant chord". If it was a major III chord, you could just label it as a "borrowed chord"!
Clear and easily understood but I do have one question ... How do we tell the difference between these slash { / } notations and the slash { / } notations that are used for chord inversions ? Do we use strictly roman numerals { ii/V } for second dominants and the chord names { A/B } for inversions ? Just trying to guess ... is that correct ?
But what's purpose of a secondary dominant? How does it relate musically to primary dominant? I remain lost in this whole explanation! Examples of where this is applied would certainly help. Songs that use this?
They are simply "outside chords" that you can use in a song. Say you're writing a song in the key of C major/A minor...you have 7 chords in the key. Well, with secondary dominants you now have 5 additional chords to play with. That's it! I did a more recent lesson on this topic too if you want to check that out: th-cam.com/video/8Vbkt9ZBwss/w-d-xo.htmlsi=taJmSvr0jVSXoaxq
In the Pixies “Where is my mind” the 2ndary dominant G# comes just after the C#m chord instead of before it. Instead the G# resolves to A. Sounds amazing of course but what are your thoughts on that use of it? Is the G# still considered a 2ndary dominant even when it’s not resolving to its “root” in this case the vi chord of C#m. ?
Great question! That is known as the "Major III chord" (which is also considered a secondary dominant too, as you pointed out). I made an entire lesson about the major III chord here 😀 www.zombieguitar.com/the-one-chord-that-makes-every-progression-better-the-major-iii-chord/
Brian... I was thinking the G7 was dominant ( a secondary dominant would be the V7 of V7 that would be a D7 ). I wanted to use the bvii7 as a tri-tone sub., as the leading tone to, C7.
Oops, I didn't realize that this was the "secondary dominants" video that you were commenting on. I thought this was the "7 diatonic seventh chords found in a key" video (the thumbnail looks similar on both videos). My reply was in response to that. To answer your question though, I'm still not sure that I understand what you are trying to do...Secondary dominants are dominant chords (such as G7, C7, D7, etc.) that resolve to another chord that is a fifth below, and is not a dominant chord (ie. D7 resolves to G, or C7 resolves to F, etc.). You are trying to "resolve" to C7. Not that you can't move from one dominant chord to another dominant chord; you hear it all the time in blues. So what you're asking isn't necessarily what I'm talking about in this video. However, if it works and sounds good, then it's a green light as far as I'm concerned!
Firstly, thank you so much for those lessons. They really are great! Though, if you want, tune your guitar exactly before the video, some string/s is out of tune too often... Thanks again!
Adiaf8oros ya others have told me that before. Unfortunately my ear doesn't pick up the out of tune guitar...this problem also annoys my band to no end as well!
So a secondary dominant does not just have to be the 5th of the 4th chord in a given key, it can be a fifth chord of any chord in that key, is that correct?
Good lesson! Glad you covered several examples of minor chords. A couple of questions though: 1) Is an E7 the dominant 7th for both "A" as well as "Am"? 2) In the key of C, the G7 is the dominant chord that pulls back to C. The minor 7 of a G is the note of F (which is the 4 of C). I know the G major chord has a B note (which is the major 7th of C). Isn't that B note the one that creates the "pull" back to the C? So why do we need that minor 7th of the 5 (the F note of G) in order to feel a stronger pull back to C, when it would seems as if a G chord would do the trick? Also, there are other chords that have a B in them (for example an E chord, which has the note B as the 5) so I guess I'm wondering if there's a way to describe why the pull from E to C isn't as strong as G to C. Note that I realize these might be complicated concepts to explain but I figured I'd at least ask.
doublek321 Hey thanks for watching and commenting! To answer #1...Yes, dominant chords can resolve to both major and minor chords. As for #2, this Wikipedia article explains it much better then I could in a YT comment: en.m.wikipedia.org/wiki/Dominant_seventh_chord
Cool thanks! I checked that wikipedia link you sent and it was also useful! Let me try to explain in case others had the same question (though first a disclaimer that I'm definitely not any kind of musical expert): The G7 contains notes GBDF. As already discussed in my initial comment, the B (which is the major 3rd of the G) is the "leading tone" to C. A "leading tone" means it "pulls upward" to the next highest semitone (in this case, from B to C). What I didn't realize is that there's also the concept of an "upper leading tone" that "pulls downward" the next lowest semitone. In this case, the G7 contains the note F, which pulls downward to E. The note E is the major 3rd of C. So basically the G7 contains 2 notes (B and F) that "pull" toward the root and major 3rd of C. That explains why it resolves so strongly to C.
doublek321 Hey, man. I totally get the gist of what you are saying and agree with it except for your use of the term "leading tone". Now, admittedly I am only 1 year in to guitar and music theory as well as being self taught and am only bringing this up in a spirit of open and amiable discussion. My understanding is that the term "leading tone" (aka "subtonic") is exclusively reserved for the 7th or most "active" degree of the major scale because its marked tendency to resolve up a half-step to the tonic (or octave). No other degree is as "active", hence the moniker "leading tone". Now, since the G7 (dominant V) chord contains the (Cmaj) scale's leading tone, it is the most "active" of the three primary chords(or triads). So, yes, the 7 of the C maj scale being B, the G7/V chord (because of its B) will seek to resolve to the C/I chord. Also, it's root (G) being the fifth of the I (C) chord, there is an unmistakable affinity between the two because of this. That said, the 4th -also "active" - degree (or "subdominant") tends to resolve down a half-step to 3 ( a "rest" tone) rather than up to 5 a whole step away. Also, you are more likely to encounter a movement from I to IV than from IV to I because in this case though it is true the IV chord's root (F) is a fifth away from the tonic (C) said root (F) is not contained in the I (or "tonic") chord, hence its apparent "distance" from the I. Anyway, hope you dig my little contribution to the exchange.
Since you are into this kind of stuff, here is another tidbit you might enjoy. You already know that the primary triads are the basic structural units of harmony and you may also know that movement from one of these primary triads to another is regarded as a strong or fundamental harmonic progression. You may not know that another way to achieve a strong (not in the sense of better) progression is via a root progression of a fourth or a fifth. That is why substituting the II for the IV or the VI for the I or even the III for the I or V are considered harmonically weak (not in the sense of worse) progressions because the roots of these chords are a third apart (as opposed to a fourth or a fifth apart). This third-relationship exists both above and below any of the primary triads. As an aside, when substituting for a primary triad, you may want to favor a voicing that double its chord-third as this helps to establish its function as a substitute. Finally, the usual progression is from strong or basic primary triad to the weaker substitute chord as it suggests forward motion, the root of the substitute chord being heard as a fresh, new sound in the forward progression; Also, the basis for considering chords as substitutes is that they share two common tones with the substituted chords: see, for example, I to VI, IV to II, V to III...A great book to get is E.B. Kohs, Music Theory, vol.I.
I think I get it. Someone confused me though.. they said that, they were in G, they were going to use the ii (Am) for the secondary dominant, which would be E7. Though they said there was a G# in that E7 chord, which there is but there isn't a G# in G Major. How did they get the G#? I thought you just added a flattened 7th note to get the X7 chords.
Good question! Yes there is a G# in the E7 chord, and no there is no 'G#' in the key of G major. That is why the E7 is a SECONDARY dominant... because it is an out-of-key chord!! The G# is just the 3rd of the E7 chord: E7: E G# B D The 7th of the E7 chord is the note 'D'. Hope that helps elaborate!
Hmm okay. :) I still don't understand why it gets to be sharped though. How would I know if I wasn't told. Is there some formula of building the E7 chords like you would with other chords. I mean the E chord has a G# is that what we base it on? this is probably annoying to you but it is driving me a little nuts @@zombieguitar
@@kingloser4198 the thing is that it doesn't "get sharpened"... An E7 chord is simply E G# B D. The chord formula for a "dominant 7th" chord is: 1 - 3 - 5 - b7 This "out of key" E7 chord was placed right before the "in key" Am chord in your example, because that's how secondary dominants work... Secondary dominants are simply "dominant 7th chords" that are built off the root note that is a 5th above the chord you are trying to resolve to. If I had to guess, I'd say that you're not fully clear on the rules of chord construction. Try this video: th-cam.com/video/641eWMrLYEE/w-d-xo.htmlsi=Lf7I_KKad10serZQ
Great video ! Just one thing that I don't understand, do you have to play the dominant 7 always ? Because if I am not wrong, your V chord leads to your tonic, even if you don't play the 7th, like if I am in C and play the G triad, it still resolves into C, even if i don't play G7, so when using secondary dominants, am I forced to play the 7th, otherwise it's not a secondary dominant chord ? Don't know if I am clear.
You are right. It doesn't necessarily have to be a dominant 7th chord. The important thing is that it is a "major V" chord, which then moves to the "I chord" or "i chord". The 7th just adds more tension, which creates a stronger pull.
If you like these lessons, definitely check out www.zombieguitar.com/
It is a one-of-a-kind site dedicated to helping guitarists to understand the fretboard and create their own music. You will love it!!
A one-of-a-kind site ???
That's like saying the ocean is moist !
Zombie Guitar is by far the clearest most informative website that I have ever had the enjoyment of learning from. I've learned more from this website that I've learned in the past 40+ years that I've been playing music !!!
~ Michael C #1 Zombie fan !!!
@@michaelsmusic3532 no I’m the number one fan 😎🤪
@@lukather1 😆 goofball ... !!!
Guess that's what he gets with a bunch of fukkin Zombies walk in "round 🎸
@@michaelsmusic3532 play like a zombie may as well act like one ☝️
Im trying to improve my piano chord progressions and you really helped make a lot of confusing approaches to developing chord progressions very clear.. Your awesome.. Song writers can learn a lot from your videos, not just guitarist imho.!! Sub!!! and thank you!
I've watched your videos so many times. I have a sedimentary type of intelligence, small, thin layers of facts and knowledge accumulate over the decades of my life, eventually forming actual understanding. Most people just set out to learn something and they learn it. I set out to learn something, and after 7 years, I'm like, oh this was easy, why didn't I understand it sooner ?It's taken me many years to realize it's because I'm stupid now. It took me 15 years to learn the names of the keys on the piano keyboard. Super sharp one here, brother, yes indeed.
Don’t beat yourself up bro. Learn at ur pace, and concentrate on making music at the best of your ability at every level you’re at.👌🏾✊🏾JUST DONT STOP LEARNING
By far best explanation I have heard with visual examples. Excellent teacher. They say “repetition is the mother of retention” and this proves that simple teaching instead of doctors music language is far the best.
Brian, thanks very much for your videos on the circle of fifths. With teachers like you they can cut the entire program at music universities down to one month instead of four years! Extremely useful and fun.
Hey Brian, just wanted to say - I don't care what you're wearing and the thumbnails couldn't be more informative. I've learned more from you than any other teacher on TH-cam, what you showed me about chord tone soloing set me free from minor pentatonic land where I'd been stuck for years. I owe you a debt of gratitude man, and I know I'm not the only one judging by the Comments you always get. Liked and already subscribed! : )
Not only the best on youtube ... He's the best instructor on the whole freakin' internet !!!
Brian Kelly is a very good teacher with a calm and clear style. 🎉. TY !
As usual, the best lesson on the chosen subject on You Tube IMHO. A fairly tricky formula explained in an easy to understand manner. 3 years on and the content is still at the top of the game without resorting to clickbait or gimmicks. Solid content all the way.
Every time I get stuck on keyboard lessons I come back here, learn a bit about guitar as well, thanks so much for this Brian.
I've watched hundreds of lessons from many teachers on TH-cam and Jamplay. . . .these for me are up there with the best, conveying info. rather than ego Thank you Brian
krista96 hey thanks for the comment, I really appreciate that! I'm trying to spread the word about my website where you can find all of my lesson videos for free in a nicely organized manner - www.zombieguitar.com. Definitely check it out if you get a chance, and thanks for watching!
Under every videon on youtube, that teaches smth, there always ONE comment sayin that it seen 1000000 videos but THIS particualar video is THE BEST ever
Brian Kelly Brian, thanks so much for all your free lessons. You deserve more views. I refer anyone interested in music/guitar to your TH-cam channel. I hope teaching music pays off huge for you. You really deserve it! Thanks so much again!
Brian ... Every chance I get I point everyone in the direction of your website, youtube vids, and facebook group in hopes that you get more subscriptions and paying customers. It's the least that I can for all the hard work that you've put in with everything and all the help that you continue to be with my theory studies.
You are appreciated bro, multiple gratitude ... Rock on !!!
@@krutoyinfo I've seen 10000000 videos and this one is the BEST ever !!!
{ seriously }
You have exceptional teaching ability. You break it down perfectly. Hats off
Your explanations are from a perspective that I've not already seen on videos before.
Powerful knowledge with good examples! bravo, keep up the good work
perfect best teacher on the web hands down!!!
You are the best coach on the net. Really amazing work.
Hey, man. Am never disappointed by your uploads. I don't know how long you have been teaching but I think any student of yours will be fortunate to receive instruction from you as you deliver the material in a very concise, logical and impactful manner. Hope this helps to motivate you to continue along your chosen path as I am sure it is not an easy one.
Great job. Very clear and thorough. Thanks for posting.
I've watched a couple of videos on secondary dominants, and this is the one that made it click for me.
Thank you very much!
No problem...glad to help!
You are the best, I watched 3-4 videos of you and it all started to be clean !:)
Great lesson Brian, thanks!
Great lesson once again. Thanks for making this video Brian. Your way of explaining it cleared things up for me since the theory books I had read on it were not clear in explaining it at all - much appreciated!!!
Cool, I’ll be on the look out.Thanks great stuff. 😎👍🎸
Very clear information, with an interesting mix of theory and practical examples. A super helpful video!
Excellent explanation. Thanks for dedicating time and effort into this. Cheers.
You're welcome!
Thanks for making it so easy to understand. Great teacher.
Great video, man! Appreciate it!
Brian, this is a fantastically clear explanation which I watched after several others that left me in the dark, you have a gift for explanation. Thanks for this.
Hey thanks for the comment! Glad you found it helpful!
Perfectly explained. Another weapon in my arsenal for writing 🤘
Brian.. thanks for all your theoritical lessons.. they are very well explained and very helpful...it helped me immensely..... you are doing a great job... God bless you for your talent........look forward to your videos always.......🙏👍
Great stuff. Thanks Brian. You once again have helped me on this journey
This clears up a lot.
Always thought that the secondary dominant had to resolve to the 2 chord of the key.. hence secondary....
Brian, you explain the function of music brilliantly.
Nice. Your tone and lesson with visuals allow the clarity to flow well. Also no hurry up on your delivery. Thank you
Thank you for this video bro! You seem to explain it a way and pace that my brain digests it well.
One of the best people that I’ve ever heard explain theory
brother am i the only one who understand everything what you saying your demonstration i get everything what i need to learn in guitar
thank you brian
i am all the way from nepal lots of love
left hand sanjay
That's awesome man! Thanks for checkin out my channel!
you're a great teacher. really enjoyed this lesson. thank you!
Thanks for all your information. I watch the theory videos and I’ve learned a lot. I don’t play the guitar but I find information that I can apply to the ukulele. I clicked on your circle of fifths video and went from there. You give a lot of information but concisely and to the point. I usually have to watch the video a couple times to grasp it since I’ve no musical background. This has been very helpful to me.
Watched like 4 of your lessons, and wanted to say thanks for the videos!! You're touching on concepts i haven't seen on other channels.
Great demonstrarions, I am glad that I have spent time to listen in detials. Thank you.
Awesome video, you explained it so so well. Bravo 👏🏻
Fantastic tutorials thank you Brian.
Really good uploads, shed alot if light for me thanks.
I love all these lessons you have. I have been learning new guitar off of TH-cam for years, and this channel is by far the best one I’ve ever come across. It’s advanced stuff but it’s so easy to understand. Thank you
Hey thanks a lot! I really appreciate the words!
Ty brian for the efforts on teaching us.. Love from philippines .
Kirk Kilat no problem. Thanks for watching!
yes thank you
Yes....your teaching is fantastic.....very clear....perfect....rc
Just wanted to say thank you! Love your videos. They've really helped me to dig into basic music theory.
Nicely explained. I'm gonna work on this.
Hey Bryan thanks so much for your lessons! You shine light on so many areas I seen hidden. You’ve used tools like the circle of fifths in your lessons to open up which seem to be a mysterious complex system.It now is so plain and simple that I feel as if I’ve been walking for 20 years while there were planes at my disposal right next door.
That's awesome! Glad to hear you are finding these vids helpful 😎
Fascinating and very well explained, thanks you.
Thank you.
Thank You So Much Sir!! 🙏🏻.
Very helpful lesson
this small tricks like the one at 5:35 are what i like about your videos! :) i did not think about this easy help at the moment and only would have seen it only a lot of time later by myself. (hopefully haha)
After 4 Years learning, now i can say; You are the most effective Guitarist here. I spend a lot of Time with your leesons to get better and better. It makes a lot of fun i really enjoy all your lessons, Its much Stuff guitar theory ))) but u help me soooo much, to understand what is Music and how does it works
Nice greets from Germany ;-)
Hey glad you are liking the vids. Thanks for following 😁🤘
Thank you for the good lesson!
Great info. Well explained. Thanks a lot. Well done.
Thank you so much for spending your time teaching . I get more out of your explanations of theory than most teachers on here. At least you make it interesting 😁. Keep on keeping on brother 😁
Thanks Brian. You are an excellent teacher! I wish I’d learnt all this theory years ago.
amazing teacher!
I thank you for these free lessons. I've been good at what I knew at my small church, but you get around musicians that know their stuff, you'd better know yours. Ignorance is no excuse in these days and time.
Well, 5 K subscribers without giving it a second thought says a lot about what you have to offer. Hope you have local students because you are an excellent teachers and that is a precious - if undervalued, like the arts - commodity in our society.
Love it! Absolutely (and correctly - my 2 cents) described a very useful concept.
Your amazing, Thank you so much for sharing your knowledge Sir..
Mehboob Yaqoob no problem. Thanks for watching!
Thanks for the very useful lesson!
Another brilliant lesson explains theory so well.
can't thank you enough for these videos my dude.🙏🙏
Hey man great lesson! I've been struggling a lot with writing good chord progressions. This really opened a new world for me. Would love more chord progression lessons if you can. My rhythm guitar game is weak.
Jawshua haha Lots more to come. All lessons regarding chords/chord progressions can found here on this page: www.zombieguitar.com/the-chords-and-chord-progressions-page/. I will be adding several more to this page over the next month!
good video and very useful material when one wants to experiment with different sounding chord progressions. thanks.
Great lesson man, that helped a lot
Nice work brother
AWESOME LESSONS BRIAN:D
Ur a great teacher bro🤘🏾
I'm learning theory for piano atm but this was still majorly helpful, thanks.
In the key of C you can use the diatonic chords C, Dm, Em, F, G, Am and Bm-5. Add secondary dominants and you can also use C7, D7, E7, F7, A7 and B7 when playing in the key of C. Add tritone substitution and you can also use F#7, G#7, Bb7, C#7 and D#7 when playing in the key of C. So your next lesson could be explaining tritone substitution :-)
fantastic lesson
thank you SOO MUCH
sir can you explain how to tranpose to a higher key?
loving this stuff man :)
Excellent easy to understand tutorial. Better than any other explanation I've heard on piano. Does this rule hold true in minor keys and other modes?
Yup it does!
Great videos! How do you explain when the iii chord is used as a Secondary Dom but moves to the IV chord instead of the V? We hear that a lot. why does that work? Thanks
Well if the iii chord moves to the IV chord, than it wouldn't be functioning as a "dominant chord". If it was a major III chord, you could just label it as a "borrowed chord"!
Wow, just opened another door. Would like more on this subject. Cool 😎👍🎸
Joseph D'Alessandro Any specific topics you want me make a lesson on?
excellent lesson
Wondering, where can I find a more in depth version of this on the website? I am a member.
Fantastic.
Thank You: Very useful info!
Clear and easily understood but I do have one question ...
How do we tell the difference between these slash { / } notations and the slash { / } notations that are used for chord inversions ? Do we use strictly roman numerals { ii/V } for second dominants and the chord names { A/B } for inversions ?
Just trying to guess ... is that correct ?
Yup a slash chord means that the bass note has changed. Secondary dominants are different. The roman numerals are the indicator 😀
Awesomeness !!!!
Thanks for letting me know that I got that one correct. Keeping my fingers crossed that I can now pass the mid-terms !!!
Yeah. Thx
Can you do video on modes, explain how C# major and Dorian minor 3 would be F so now you have changed the C# major Thanks
Great videos keep it up
Hey check out my 3-part modes series. It will help explain everything about modes: www.zombieguitar.com/how-to-solo-across-the-fretboard-using-modes/
But what's purpose of a secondary dominant? How does it relate musically to primary dominant? I remain lost in this whole explanation! Examples of where this is applied would certainly help. Songs that use this?
They are simply "outside chords" that you can use in a song. Say you're writing a song in the key of C major/A minor...you have 7 chords in the key. Well, with secondary dominants you now have 5 additional chords to play with. That's it! I did a more recent lesson on this topic too if you want to check that out: th-cam.com/video/8Vbkt9ZBwss/w-d-xo.htmlsi=taJmSvr0jVSXoaxq
In the Pixies “Where is my mind” the 2ndary dominant G# comes just after the C#m chord instead of before it. Instead the G# resolves to A. Sounds amazing of course but what are your thoughts on that use of it? Is the G# still considered a 2ndary dominant even when it’s not resolving to its “root” in this case the vi chord of C#m. ?
Great question! That is known as the "Major III chord" (which is also considered a secondary dominant too, as you pointed out).
I made an entire lesson about the major III chord here 😀
www.zombieguitar.com/the-one-chord-that-makes-every-progression-better-the-major-iii-chord/
Brian... what about the, '7- ?... Key of 'C, as 1. Dm7 as 2. and, Bbm7, 7. as the minor 7-( b5 ) / slide up 2 frets to, C7 for resolve?
Close...in the key of C major, the vii° chord is Bm7b5. The dominant chord in the key of C major is G7.
Brian... I was thinking the G7 was dominant ( a secondary dominant would be the V7 of V7 that would be a D7 ). I wanted to use the bvii7 as a tri-tone sub., as the leading tone to, C7.
Oops, I didn't realize that this was the "secondary dominants" video that you were commenting on. I thought this was the "7 diatonic seventh chords found in a key" video (the thumbnail looks similar on both videos). My reply was in response to that.
To answer your question though, I'm still not sure that I understand what you are trying to do...Secondary dominants are dominant chords (such as G7, C7, D7, etc.) that resolve to another chord that is a fifth below, and is not a dominant chord (ie. D7 resolves to G, or C7 resolves to F, etc.). You are trying to "resolve" to C7. Not that you can't move from one dominant chord to another dominant chord; you hear it all the time in blues. So what you're asking isn't necessarily what I'm talking about in this video. However, if it works and sounds good, then it's a green light as far as I'm concerned!
GOOD LEASSON
V nice and clear
Firstly, thank you so much for those lessons. They really are great! Though, if you want, tune your guitar exactly before the video, some string/s is out of tune too often... Thanks again!
Adiaf8oros ya others have told me that before. Unfortunately my ear doesn't pick up the out of tune guitar...this problem also annoys my band to no end as well!
So a secondary dominant does not just have to be the 5th of the 4th chord in a given key, it can be a fifth chord of any chord in that key, is that correct?
Yup exactly!
5 of the 6 is a 7....cool lesson man... subbed. :)
Good lesson! Glad you covered several examples of minor chords. A couple of questions though:
1) Is an E7 the dominant 7th for both "A" as well as "Am"?
2) In the key of C, the G7 is the dominant chord that pulls back to C. The minor 7 of a G is the note of F (which is the 4 of C). I know the G major chord has a B note (which is the major 7th of C). Isn't that B note the one that creates the "pull" back to the C? So why do we need that minor 7th of the 5 (the F note of G) in order to feel a stronger pull back to C, when it would seems as if a G chord would do the trick?
Also, there are other chords that have a B in them (for example an E chord, which has the note B as the 5) so I guess I'm wondering if there's a way to describe why the pull from E to C isn't as strong as G to C. Note that I realize these might be complicated concepts to explain but I figured I'd at least ask.
doublek321 Hey thanks for watching and commenting!
To answer #1...Yes, dominant chords can resolve to both major and minor chords.
As for #2, this Wikipedia article explains it much better then I could in a YT comment: en.m.wikipedia.org/wiki/Dominant_seventh_chord
Cool thanks! I checked that wikipedia link you sent and it was also useful! Let me try to explain in case others had the same question (though first a disclaimer that I'm definitely not any kind of musical expert):
The G7 contains notes GBDF. As already discussed in my initial comment, the B (which is the major 3rd of the G) is the "leading tone" to C. A "leading tone" means it "pulls upward" to the next highest semitone (in this case, from B to C).
What I didn't realize is that there's also the concept of an "upper leading tone" that "pulls downward" the next lowest semitone. In this case, the G7 contains the note F, which pulls downward to E. The note E is the major 3rd of C.
So basically the G7 contains 2 notes (B and F) that "pull" toward the root and major 3rd of C. That explains why it resolves so strongly to C.
doublek321 exactly!
doublek321 Hey, man. I totally get the gist of what you are saying and agree with it except for your use of the term "leading tone". Now, admittedly I am only 1 year in to guitar and music theory as well as being self taught and am only bringing this up in a spirit of open and amiable discussion. My understanding is that the term "leading tone" (aka "subtonic") is exclusively reserved for the 7th or most "active" degree of the major scale because its marked tendency to resolve up a half-step to the tonic (or octave). No other degree is as "active", hence the moniker "leading tone". Now, since the G7 (dominant V) chord contains the (Cmaj) scale's leading tone, it is the most "active" of the three primary chords(or triads). So, yes, the 7 of the C maj scale being B, the G7/V chord (because of its B) will seek to resolve to the C/I chord. Also, it's root (G) being the fifth of the I (C) chord, there is an unmistakable affinity between the two because of this. That said, the 4th -also "active" - degree (or "subdominant") tends to resolve down a half-step to 3 ( a "rest" tone) rather than up to 5 a whole step away. Also, you are more likely to encounter a movement from I to IV than from IV to I because in this case though it is true the IV chord's root (F) is a fifth away from the tonic (C) said root (F) is not contained in the I (or "tonic") chord, hence its apparent "distance" from the I. Anyway, hope you dig my little contribution to the exchange.
Since you are into this kind of stuff, here is another tidbit you might enjoy. You already know that the primary triads are the basic structural units of harmony and you may also know that movement from one of these primary triads to another is regarded as a strong or fundamental harmonic progression. You may not know that another way to achieve a strong (not in the sense of better) progression is via a root progression of a fourth or a fifth. That is why substituting the II for the IV or the VI for the I or even the III for the I or V are considered harmonically weak (not in the sense of worse) progressions because the roots of these chords are a third apart (as opposed to a fourth or a fifth apart). This third-relationship exists both above and below any of the primary triads. As an aside, when substituting for a primary triad, you may want to favor a voicing that double its chord-third as this helps to establish its function as a substitute. Finally, the usual progression is from strong or basic primary triad to the weaker substitute chord as it suggests forward motion, the root of the substitute chord being heard as a fresh, new sound in the forward progression; Also, the basis for considering chords as substitutes is that they share two common tones with the substituted chords: see, for example, I to VI, IV to II, V to III...A great book to get is E.B. Kohs, Music Theory, vol.I.
Does it work with 4ths too?
Watched your two lessons again, you used 7th cords. How about 9th and other variation cords? Or go with what sounds good. 😎🎸
Joseph D'Alessandro ill definitely be getting into all that stuff in upcoming lessons!
But yes..always go with what sounds the best!
I think I get it. Someone confused me though.. they said that, they were in G, they were going to use the ii (Am) for the secondary dominant, which would be E7. Though they said there was a G# in that E7 chord, which there is but there isn't a G# in G Major. How did they get the G#? I thought you just added a flattened 7th note to get the X7 chords.
Good question!
Yes there is a G# in the E7 chord, and no there is no 'G#' in the key of G major. That is why the E7 is a SECONDARY dominant... because it is an out-of-key chord!!
The G# is just the 3rd of the E7 chord:
E7: E G# B D
The 7th of the E7 chord is the note 'D'.
Hope that helps elaborate!
Hmm okay. :) I still don't understand why it gets to be sharped though. How would I know if I wasn't told. Is there some formula of building the E7 chords like you would with other chords. I mean the E chord has a G# is that what we base it on? this is probably annoying to you but it is driving me a little nuts @@zombieguitar
@@kingloser4198 the thing is that it doesn't "get sharpened"...
An E7 chord is simply E G# B D.
The chord formula for a "dominant 7th" chord is:
1 - 3 - 5 - b7
This "out of key" E7 chord was placed right before the "in key" Am chord in your example, because that's how secondary dominants work...
Secondary dominants are simply "dominant 7th chords" that are built off the root note that is a 5th above the chord you are trying to resolve to.
If I had to guess, I'd say that you're not fully clear on the rules of chord construction. Try this video: th-cam.com/video/641eWMrLYEE/w-d-xo.htmlsi=Lf7I_KKad10serZQ
I will remain indebted to you forever. I wish I could meet you once.
Great video ! Just one thing that I don't understand, do you have to play the dominant 7 always ? Because if I am not wrong, your V chord leads to your tonic, even if you don't play the 7th, like if I am in C and play the G triad, it still resolves into C, even if i don't play G7, so when using secondary dominants, am I forced to play the 7th, otherwise it's not a secondary dominant chord ? Don't know if I am clear.
You are right. It doesn't necessarily have to be a dominant 7th chord. The important thing is that it is a "major V" chord, which then moves to the "I chord" or "i chord". The 7th just adds more tension, which creates a stronger pull.