I've just watched about 10 of your videos in a row and I have to say you have answered a lot of questions I have had for a long time. The approaches you take and angle you look at music from is perfect for my brain and existing knowledge. I will definitely be watching more and using these to expand my playing and writing. Thank you so much
Thank you so much! I've been racking my brain for DECADES trying to get secondary dominants explained. Nobody in my circle would take the time to explain it. Every time I created songs I would get stuck in all diatonic spots. Thanks to this, now I can start trying things and know what I'm doing. I like making music by just lucky key hits and strums, but a roadmap like this is just pure bliss!! Once again: Thank you, thank you, thank you!!!
For those interested in this type of stuff, the overall rule is that any diatonic chord except the viidim in major ( or iidim in minor) may be preceeded by its secondary dominant. Another way to look at it is a secondary dominant sounds like a variation on the diatonic chord sharing the same letter...So, the change in quality of that chord increases the sense of anticipation of the chord it is setting up. An example of this would be A7 which is not diatonic to the C maj scale but which sounds like a variation of Amin7 which is the vi chord of that scale. So, A7 would resolve to Dmin7, the iimin chord of the C maj scale (harmonized in sevenths). Functionally, the relation would be described: V7/iimin.
Just downloaded your “Music Theory for Guitar”, and it's an amazing resource. Rare to find someone willing to pass along so much important information. I am enjoying your videos and find them very well done and helpful. Thanks a lot.
Are secondary dominants always a perfect fifth above the desired note? I was wondering if they're sometimes a flat 5 or sharp five above the desired note? Also the 2 chord and 3 chord in harmonic minor is a diminished triad and augmented triad, so can you do secondary dominants over that?
Wow that is one of the best quick music lesions that I've learned on TH-cam ! 3 quick questions : 1. Why there is no secondary dominant to the m7b5 ? 2. I have notice that the issue is always on how to resolve it to the next chord but I never heard someone speaking about the relationship to the chord from back. For example : C E7 Am. So the E7 is the secondary dominant to the Am but what about the relationship between the C to the E7? There is a meaning to that relationship that need to be treated as well but I never heard someone talk about it. 3. How should we threat the melody when using secondary dominant (all the secondary dominant chord are "out of key" chords. Thanks for your great videos !
1. m7b5 chords are too dissonant to resolve to or to function as a tonic (basically it just doesn't sound good) 2. There might be more to this than I know but the relationship to the previous chord is that you're adding in chromatics with the secondary dominant chord. For example: C E7 Am. If this is in the key of C, Em or Em7 would be the chord you would typically find there. Em7 is spelled E-G-B-D which are all notes you would find in the key of C. E7 is spelled E-G#-B-D. So G# is a chromatic note in the key of C which adds some tension. Or can can look at it as the G in the C chord (C is spelled C-E-G), moving up chromatically to a G#. I'm sure this can get pretty deep. I've actually never really thought about it. 3. You need to consider the relationship between the secondary dominant and the chord it's moving to. If it's E7 to A then you can just switch the scale to A major (actually E mixolydian). E7 to Am you can't really do that because Am is spelled A-C-E and the key of A has a C# in it. You could use A harmonic minor because those chords are found in A Harmonic Minor. You could also use A Melodic Minor. But it really depends on the sound you're going for and what's happening with the rest of the song. Those scales might not be a good choice. To keep it simple I would just use arpeggio notes. So E7 arp notes over E7 and Am arp notes over Am. Hope that helps. Thanks! -Chad
They are always major, the 3rd resolving up to the root of the target chord. So, M3 of E is G#, the leading tone of A. You can follow the resloutions of the other notes to see what is going on. Given that the 3rd is the main character of the chord (other than root and the secondard color of the 7th), it's what drives the melody.
The tritone sub is when you substitute a Dom7 chord built off the b5 (b5 is the tritone) of a chord. So if you had a G7 you would substitute Db7 (Db is the b5 of G). This is done in Jazz all the time but is much less common in pop music. Thanks! -Chad
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Chad i have told this before, i'm saying it again, you have a big heart. thank you these super resourceful videos.
I've just watched about 10 of your videos in a row and I have to say you have answered a lot of questions I have had for a long time. The approaches you take and angle you look at music from is perfect for my brain and existing knowledge. I will definitely be watching more and using these to expand my playing and writing. Thank you so much
So glad you find the vids helpful. Let me know if you ever have any questions. Thanks! -Chad
Thank you so much! I've been racking my brain for DECADES trying to get secondary dominants explained. Nobody in my circle would take the time to explain it.
Every time I created songs I would get stuck in all diatonic spots. Thanks to this, now I can start trying things and know what I'm doing. I like making music by just lucky key hits and strums, but a roadmap like this is just pure bliss!!
Once again: Thank you, thank you, thank you!!!
You're welcome! Really glad it helped you out. Thanks! -Chad
The best break down on secondary dominants
For those interested in this type of stuff, the overall rule is that any diatonic chord except the viidim in major ( or iidim in minor) may be preceeded by its secondary dominant. Another way to look at it is a secondary dominant sounds like a variation on the diatonic chord sharing the same letter...So, the change in quality of that chord increases the sense of anticipation of the chord it is setting up. An example of this would be A7 which is not diatonic to the C maj scale but which sounds like a variation of Amin7 which is the vi chord of that scale. So, A7 would resolve to Dmin7, the iimin chord of the C maj scale (harmonized in sevenths). Functionally, the relation would be described: V7/iimin.
Sir , Bravo because your new style of teaching is very useful and understandable
Thank you this is a clear visual explanation.
Another excellent lesson. Well done.
I watched several videos about secondary dominants i didnt understand.. now 'aha' time..... soooooooooooo thank uuuu
another great lesson! I really look forward to learning more jazz, I'll keep going from this ! Thank you for your work!!!
Thanks and you're welcome! -Chad
Just downloaded your “Music Theory for Guitar”, and it's an amazing resource. Rare to find someone willing to pass along so much important information. I am enjoying your videos and find them very well done and helpful. Thanks a lot.
You're welcome. Really glad you enjoy the vids. Thanks! -Chad
Are secondary dominants always a perfect fifth above the desired note? I was wondering if they're sometimes a flat 5 or sharp five above the desired note? Also the 2 chord and 3 chord in harmonic minor is a diminished triad and augmented triad, so can you do secondary dominants over that?
Secondary doms are always a perfect 5th. Diminished and augmented chords are too unstable to use a secondary dom on. Thanks! -Chad
@@Moveforwardguitar awesome thanks
Wow that is one of the best quick music lesions that I've learned on TH-cam !
3 quick questions :
1. Why there is no secondary dominant to the m7b5 ?
2. I have notice that the issue is always on how to resolve it to the next chord but I never heard someone speaking about the relationship to the chord from back. For example : C E7 Am. So the E7 is the secondary dominant to the Am but what about the relationship between the C to the E7? There is a meaning to that relationship that need to be treated as well but I never heard someone talk about it.
3. How should we threat the melody when using secondary dominant (all the secondary dominant chord are "out of key" chords.
Thanks for your great videos !
1. m7b5 chords are too dissonant to resolve to or to function as a tonic (basically it just doesn't sound good)
2. There might be more to this than I know but the relationship to the previous chord is that you're adding in chromatics with the secondary dominant chord. For example: C E7 Am. If this is in the key of C, Em or Em7 would be the chord you would typically find there. Em7 is spelled E-G-B-D which are all notes you would find in the key of C. E7 is spelled E-G#-B-D. So G# is a chromatic note in the key of C which adds some tension. Or can can look at it as the G in the C chord (C is spelled C-E-G), moving up chromatically to a G#. I'm sure this can get pretty deep. I've actually never really thought about it.
3. You need to consider the relationship between the secondary dominant and the chord it's moving to. If it's E7 to A then you can just switch the scale to A major (actually E mixolydian). E7 to Am you can't really do that because Am is spelled A-C-E and the key of A has a C# in it. You could use A harmonic minor because those chords are found in A Harmonic Minor. You could also use A Melodic Minor. But it really depends on the sound you're going for and what's happening with the rest of the song. Those scales might not be a good choice. To keep it simple I would just use arpeggio notes. So E7 arp notes over E7 and Am arp notes over Am.
Hope that helps. Thanks! -Chad
you are great sir... i m lucky to i learned many things from you love from nepal♥
Thank you very much! This is so useful and its explained very well! :)
No problem. Thanks for watching and commenting! -Chad
Thanks for the Amazing lessons...I'm actually moving forward !!!
pratik khadka Love the comment! Glad the lessons are helping Thanks! -Chad
Thank you very much for sharing. Well done
You're welcome. Thanks for watching and commenting! -Chad
Is all secondary dominant should Dominant (A7, G7. D7)...?
What about the B dim were does it resolve bro?
The V/VII secondary dominant for the minor scale, shouldn't that be an F flat? Great video btw.
Can a V/V/II chord exist?
5Th of Amin is Emin then .. we have to use Emin7 or E7 before Amin?
They are always major, the 3rd resolving up to the root of the target chord. So, M3 of E is G#, the leading tone of A. You can follow the resloutions of the other notes to see what is going on. Given that the 3rd is the main character of the chord (other than root and the secondard color of the 7th), it's what drives the melody.
so good
an eye opener .thanks so much.
No problem. Glad the lesson was useful to you. Thanks! -Chad
What is tritone substitution.
The tritone sub is when you substitute a Dom7 chord built off the b5 (b5 is the tritone) of a chord. So if you had a G7 you would substitute Db7 (Db is the b5 of G). This is done in Jazz all the time but is much less common in pop music. Thanks! -Chad
Thanks so much!
You're welcome! -Chad
d7 is the fifth chord of g7 or gmajor7??
For secondary dominants D7 is the V of any G Major or G minor chord. Thanks! -Chad
Omg I like this video
Thank yoou beyond words or describability thank you so MUCH!!
You're welcome. Thanks! -Chad
GREAT
Thanks! -Chad
you forgot f sharp 7