Hi :) Im looking for something very...funy ;) Im looking for songs or exercises,with this progressions: ii-V-iii ii-V-vi IV-V-iii IV-V-vi ii-viio-iii ii-viio-vi IV-viio-iii IV-viio-vi ii-viio-I IV-viio-I
Curious how you would analyze the last six bars of this G blues progression: G7 - Bm7 Bbm7 - Am7 - D7 - B7 E7 - A7 D7? The Am7 I take as the ii chord, and D7 is the V chord, so B7 E7 and A7 are secondary dominants? What about the Bm7 Bbm7 chords?
Bm7 is the iii, an Bbmin7 is just a chromatic passing chord to get to the ii. B7 is III secondary dominant to VI (E7) which acting as secondary dominant to II (A7) which is acting as secondary dominant to V. Very common in jazz to turn minor 7th chords into dominants.
@@Learnjazzstandards thanks for the reply! Follow up question, is there a beginner scale/mode you can recommend to play over the secondary dominant changes i.e. am7 - D7 - B7 E7 - A7 D7? It’s so close to a ii V7 I but those secondary dominants are messing me up lol
@@EvanDuly @Evan Duly I wouldn't say I'm as qualified to answer but there's not really a single scale you can use over those to spell out the changes. What's happening there is a 2 5 into the I7 but instead of resolving you play a 3 6 2 5. Look into 1 6 2 5 turnarounds and practise practise practise. In the specific example you mentioned there's literally so many things you can do I couldn't even put it into a single comment. My best advice would be with a quick series of chords like this it's better to think of arpeggios or cells than a single scale. Try playing something very simple like the corresponding triads to get an idea of the progression. Good Luck
![Secondary Dominants- Write Better Chord Progressions! [MUSIC THEORY / SONGWRITING]](http://i.ytimg.com/vi/py4HaueW50Q/mqdefault.jpg)
![Secondary Dominants- Write Better Chord Progressions! [MUSIC THEORY / SONGWRITING]](/img/tr.png)
Great video!!
Hi :)
Im looking for something very...funy ;)
Im looking for songs or exercises,with this progressions:
ii-V-iii
ii-V-vi
IV-V-iii
IV-V-vi
ii-viio-iii
ii-viio-vi
IV-viio-iii
IV-viio-vi
ii-viio-I
IV-viio-I
Curious how you would analyze the last six bars of this G blues progression: G7 - Bm7 Bbm7 - Am7 - D7 - B7 E7 - A7 D7? The Am7 I take as the ii chord, and D7 is the V chord, so B7 E7 and A7 are secondary dominants? What about the Bm7 Bbm7 chords?
Bm7 is the iii, an Bbmin7 is just a chromatic passing chord to get to the ii. B7 is III secondary dominant to VI (E7) which acting as secondary dominant to II (A7) which is acting as secondary dominant to V. Very common in jazz to turn minor 7th chords into dominants.
@@Learnjazzstandards thanks for the reply! Follow up question, is there a beginner scale/mode you can recommend to play over the secondary dominant changes i.e. am7 - D7 - B7 E7 - A7 D7? It’s so close to a ii V7 I but those secondary dominants are messing me up lol
@@EvanDuly @Evan Duly I wouldn't say I'm as qualified to answer but there's not really a single scale you can use over those to spell out the changes. What's happening there is a 2 5 into the I7 but instead of resolving you play a 3 6 2 5. Look into 1 6 2 5 turnarounds and practise practise practise. In the specific example you mentioned there's literally so many things you can do I couldn't even put it into a single comment. My best advice would be with a quick series of chords like this it's better to think of arpeggios or cells than a single scale. Try playing something very simple like the corresponding triads to get an idea of the progression. Good Luck
Did you mean to say (I) C maj 7 to (ii) dm7? Or is (i) Cm7 to (ii) dm7 what you meant to say?
Absolutely. He played a Cmaj7 to the ii chord Dm7.
Do you have any videos of you playing the guitar
nazrf1
#von.ong