Good stuff informative and fun. I’ve heard that 2ndary Dominants are in the key, in that they all have their roots within the key as in I7 (V7/IV), II7 (V/V), III7 (V7/VI) , IV7 (subV/III), VI7 (V7/II), and VII7 (V/III) etc.. and the chord scales for starters ‘theoretically’ would use scales that most conserve or preserve the original key. As in: V7/IV Mixolydian, V/V mixolydian, V/VI harmonic minor-dominant, IV7(subV/III) using Lyd(b7), V7/II Melodic minor dominant, and V7/III using altered dom .. Those scale choices are closest to the key they’re in (the original key), As in say The key of C major: C7 (mixolydian), D7 (mixolydian, E7 (Harmonic minor-dominant), F7 (subV/III) (Lydian b7), G7 (primary V7), A7 (Melidic minor dominant), B7 (altered dominant [mode 7/C Melodic minor). This represents the inside the key as possible) and of course further dom scale choices are up to the player.. Just sayin’ Thanks again Adam and Peter.. I’m getting so much from your presentations even if some are 2 years old..so much fun so much musical information and life changing topics and banter has me tuning in somewhere on Open Studio channels every day !! Thank you !!
👍My favorite concept for this type of question about the harmony on the Rhythm changes Bridge- Get familiar/comfortable with these sounds: D7 Eb7 D7 Ab7, G7 Ab7 G7 Db7, C7 Db7 C7 Gb7, F7 Gb7 F7 B7
This is a cool topic. I'm learning acoustic guitar, so I've been playing the circle of fifths, and using transition chords between the target chords (thanks to your advice). When I first started, I tried fully diminished chords, tritone substitutions, and French sixths. To my ear, such as it is, the fully diminished chord sounds best before a major seventh, the French sixth sounds best before either a minor seventh or a half diminished, and before a dominant seventh I like to play the same chord fully diminished (that is, not a half step down, but right on the root).
I might get ish for saying this, but can't you just think of secondary dominants as creating a longer destination to the harmony that is "in" the key center? Create more tension before you settle back in the key? When I used to play the bridge to Rhythm Changes I thought totally vertically, chord by isolated chord. But the deeper I went into my contextual ear training, the more I thought of that whole bridge as a journey back to Bb. That caused me to practice--blasphemy--trying to hear the bridge of RC in Bb. Eh, I think that's not so blasphemous. I'm still working on hearing Giant Steps all in B major, with each minute progression placing tension/ movement on B major. Could be food for thought? Keto? Vegan? :)
"the more I thought of that whole bridge as a journey back to Bb." That's the whole point of the progression. That's what Milton Agen intended when he wrote Ain't She Sweet - same bridge. And he probably got it out of Ragtime or march music. And they probably got it out of Franz Lizst. The best way to think of the progression is backwards from the tonic - that's what shows the function best. The dominant gets you to the tonic. The first secondary dominant gets you to the dominant, which gets you to the tonic. Etc.
@@JonFrumTheFirst Interesting history behind the bridge. What I meant was how the bridge is often taught as separate key areas instead of as one long trip back to Bb. Definitely effects the way you improvise, hearing Bb major as you work your way towards the last A section as opposed to G major, C major, F major, Bb major. Linear versus vertical harmony... always hard to explain this over the internet :( I do want to check out that other tune you mentioned though
@@pickinstone Secondary dominants do suggest different keys, no doubt. After all, dominant chords define keys. But there is no modulation - it's better to think of them as related non-diatonic chords. LIke gravity is always pulling you toward the ground as you climb steps, secondary dominants pull you toward the tonic. Like the different links of a chain all pull you in the same direction.
There's a ton of heavy teaching going on here and in most "You'll Hear It" podcast episodes. If you like learning, then you might want to revisit this episode and many others.
Without that their channel would b another educational generic video. Ever hear of pizzazz the Je ne sais quoi 👌 👌 keeps the material interesting and less dense. U want bang for ur time then get a textbook
With all due respect: our time is typically limited, and the corny humour is not funny enough to justify the further demand on our time. I think most of us want to learn what we can and get back to practicing, and our lives. This should be 10 minutes shorter.
With all due respect You could buy a jazz textbook and learn this if you want to optimize your time to material ratio. Or just look at their shorts. They want to share their personality it’s their channel without persona they would just be another Joe Shmoe educational channel you got to dig it to dig it 🕶 you dig?
![BAK Jay - Find Out (For Your Love) [Official Music Video]](http://i.ytimg.com/vi/10FJO_XBCvY/mqdefault.jpg)
Great show guys! I’ll be tuning in regularly! 15:15 “Nothing will keep you away from a hit like an altered scale...” 😆
I love this kind of nerdy music theory banter
you can basically skip half the video 8:01
Thanks :)
But you loose the Je ne sais quoi
Good stuff informative and fun. I’ve heard that 2ndary Dominants are in the key, in that they all have their roots within the key as in I7 (V7/IV), II7 (V/V), III7 (V7/VI) , IV7 (subV/III), VI7 (V7/II), and VII7 (V/III) etc.. and the chord scales for starters ‘theoretically’ would use scales that most conserve or preserve the original key. As in:
V7/IV Mixolydian, V/V mixolydian, V/VI harmonic minor-dominant, IV7(subV/III) using Lyd(b7), V7/II Melodic minor dominant, and V7/III using altered dom .. Those scale choices are closest to the key they’re in (the original key),
As in say The key of C major:
C7 (mixolydian), D7 (mixolydian,
E7 (Harmonic minor-dominant), F7 (subV/III) (Lydian b7), G7 (primary V7), A7 (Melidic minor dominant), B7 (altered dominant [mode 7/C Melodic minor). This represents the inside the key as possible) and of course further dom scale choices are up to the player..
Just sayin’
Thanks again Adam and Peter.. I’m getting so much from your presentations even if some are 2 years old..so much fun so much musical information and life changing topics and banter has me tuning in somewhere on Open Studio channels every day !! Thank you !!
The intro was gold.
👍My favorite concept for this type of question about the harmony on the Rhythm changes Bridge-
Get familiar/comfortable with these sounds:
D7 Eb7 D7 Ab7, G7 Ab7 G7 Db7, C7 Db7 C7 Gb7, F7 Gb7 F7 B7
8:17 possessed foam in the background
I had the same thought..lol
then i replayed it 4 times and saw it was prob the chair XD
This is a cool topic. I'm learning acoustic guitar, so I've been playing the circle of fifths, and using transition chords between the target chords (thanks to your advice). When I first started, I tried fully diminished chords, tritone substitutions, and French sixths. To my ear, such as it is, the fully diminished chord sounds best before a major seventh, the French sixth sounds best before either a minor seventh or a half diminished, and before a dominant seventh I like to play the same chord fully diminished (that is, not a half step down, but right on the root).
I appreciate this podcast/channel so much. Thank you!
look at adam! man oh man. transformation compared to last years vibe. great work and facial hair chocies :)
Pimpin the Lydian dominant up in this
Biznatch Foo.
Yo yo ( wekkee zzzeeeooh)
We be modifyin #11 and flatten the 7th , cuz when you messing with " you'll hear it" you be getting secret weapons.
Peace.
Awesome show
The divine comedy of you guys arguing the heck about Hell.
( Some classics knowledge needed to get this joke)
Secondary dominants are like a side hustle dominant. 😁
You won’t get stuff like this at Berklee ! Love it .
I LAAV A PARAYDE! Lol!
hey guys I'm from Mexico and we find it very weird that you consider the word "hell" impolite... it's not even a swear word
It's a pretty obvious remnant of the puritan settlers. They are pious folk.
get that SpinDrift sponser already!
I might get ish for saying this, but can't you just think of secondary dominants as creating a longer destination to the harmony that is "in" the key center? Create more tension before you settle back in the key? When I used to play the bridge to Rhythm Changes I thought totally vertically, chord by isolated chord. But the deeper I went into my contextual ear training, the more I thought of that whole bridge as a journey back to Bb. That caused me to practice--blasphemy--trying to hear the bridge of RC in Bb. Eh, I think that's not so blasphemous. I'm still working on hearing Giant Steps all in B major, with each minute progression placing tension/ movement on B major. Could be food for thought? Keto? Vegan? :)
very charles rosenesque of you
"the more I thought of that whole bridge as a journey back to Bb."
That's the whole point of the progression. That's what Milton Agen intended when he wrote Ain't She Sweet - same bridge. And he probably got it out of Ragtime or march music. And they probably got it out of Franz Lizst. The best way to think of the progression is backwards from the tonic - that's what shows the function best. The dominant gets you to the tonic. The first secondary dominant gets you to the dominant, which gets you to the tonic. Etc.
@@JonFrumTheFirst Interesting history behind the bridge. What I meant was how the bridge is often taught as separate key areas instead of as one long trip back to Bb. Definitely effects the way you improvise, hearing Bb major as you work your way towards the last A section as opposed to G major, C major, F major, Bb major. Linear versus vertical harmony... always hard to explain this over the internet :( I do want to check out that other tune you mentioned though
@@pickinstone Secondary dominants do suggest different keys, no doubt. After all, dominant chords define keys. But there is no modulation - it's better to think of them as related non-diatonic chords. LIke gravity is always pulling you toward the ground as you climb steps, secondary dominants pull you toward the tonic. Like the different links of a chain all pull you in the same direction.
Ant tune Software sounds like the Amazing Slow Downer of the past......... "Salty Dog"...same type secondary dom but not jazz
a lot lot of talking...
I think that's how most podcasts go
You want less talking open your textbook but it won’t have the oomf or the ✨
Please keep the jokes coming. Haters gonna hate.
The program Transcribe! Has been doing all that for years.
www.seventhstring.com/xscribe/overview.html
Lmao is that like playing second fiddle
Lots of silliness, here. I love to be silly but not when I'm learning.
There's a ton of heavy teaching going on here and in most "You'll Hear It" podcast episodes. If you like learning, then you might want to revisit this episode and many others.
Learning should be fun
@@Storkwearingshorts Yes it is
“It’s naive to think you can get through life without being naive”
I think that "silliness" us part of what makes it great. Two good friends who can improvise jazz... How could they not improvise jokes as well?
Love the content but the delivery is NOT efficient. You guys eff around too much and waste time man… cmon… keep the content, delete the bs joking
Without that their channel would b another educational generic video. Ever hear of pizzazz the Je ne sais quoi 👌 👌 keeps the material interesting and less dense. U want bang for ur time then get a textbook
With all due respect: our time is typically limited, and the corny humour is not funny enough to justify the further demand on our time. I think most of us want to learn what we can and get back to practicing, and our lives. This should be 10 minutes shorter.
With all due respect You could buy a jazz textbook and learn this if you want to optimize your time to material ratio. Or just look at their shorts. They want to share their personality it’s their channel without persona they would just be another Joe Shmoe educational channel you got to dig it to dig it 🕶 you dig?
@@Vic9994546 My feedback is for their benefit. I stopped watching their videos.
@@Vic9994546 I gave them my feedback for their benefit. They can take it or leave it, and so can you. I don't watch this channel now.