Functional tonal harmony 3: Secondary dominants

[@DougWS]

These are fantastic. Very well explained and comprehensive for 40 minutes of education. Thank you!

[@musicandsunsets4126]

Thank you so much, Mr. Greg for the wonderfully explained videos.
It would be amazing if you could keep making videos. Also, could you kindly make videos with exercises where we can practice the theory you teach us?

[@ricksalay]

Thanks so much for this excellent series of videos on tonal harmony!

[@adonirandesouzabail5380]

Excelente aula! Gostei do método visual, me ajudou a elaborar melhor a harmonia funcional. Vou aplicar algo semelhante na minha igreja.

[@isaactfa]

Great series of videos, thank you.

[@gaetanodepaola2ndchannel179]

Beautifully explained, thank you!

[@ADCar]

Thanks. This was extremely helpful.

[@Fullscore999]

Errata: in the Bach chorale: bar 2, beat 4: V/V. Because D/F# goes to G. No "f#dim or f#m goes to G", as the analysis implies.

[@zephyr707]

6:05 is there a hierarchy or formula to oddness similar to what you demonstrate in part 1 with the interval ratio relationship with consonance and with dissonance and dissonant tendency tones and chord functions?

[@user-wn1jf7pg6x]

Thanks.
Im curious to know how can this help me modulate to another key..

[@caqueto3347]

Hi St, hou are a great explainer. How can I get in contact with you?

[@saffetozturk7300]

Wouldn’t the V chord of Em be a Bm7?

[@gdalessio13]

In harmonic minor the 7th scale degree is raised, which creates a major triad and a dominant seventh chord on the V

[@saffetozturk7300]

@@gdalessio13 so you always use the harmonic minor when using the 5th of a minor chord as a secondary dominant?

[@gdalessio13]

@@saffetozturk7300 yes