You have a special gift for explaining concepts… I’m going to get the theory course, but I’ve been looking for a similar accompanying course that exclusively contains exercises (“playalongs”) to get the concepts into muscle memory… as many longer form videos to practice along to… the simpler the exercise the better. Is there anything like that in the course or would you ever consider making something like that? It would close the gap between understanding theory and being able to utilize it without thinking. Thank you!
Strange, this is the first explanation of the secondary dominant that I've seen where it was not mentioned that the secondary dominant is the dominant or fifth of the target chord. A7 is the secondary dominant or 5th of Dm. B7 is secondary dominant for Em, C7 is the secondary dominant for F, etc.
I should have opened with saying that in C Major, A7 is the secondary dominant of Dm. What I did here is showing the voice-leading procedure that’s behind that A7 - Dm.
@@dr.guyshkolnik_composer So "a secondary dominant" is actually just the dominant of the second tone in the scale? (I'm so confused by English terminology.)
@@herrbonk3635 secondary dominant chords are the fifth away from a chord you intend to get to. Example here is he intends getting to the II (D min ) so he goes to A7 before arriving at his destination chord D min . Hope it helps.
@@herrbonk3635 ANY of the Diatonic chords can have a Secondary Dominant chord. In it's First inversion the secondary Dominant is a semitone above it's target chord... or as the Dr. says built from the chromatic passing tone.
Another excellent teaching! I have developed a fascination for chords with the 3rd in the bass, as they have an unsettled quality or tension that calls for resolving movement. Why is that?
I was just playing guitar and I had a eureka moment . That secondary dominant can be the 5 of a major or minor chord but... If you want you can resolve it to the minor iii of the new major chord.. it's insane what you can do with dominant 7 chords.
That's a nice move! but It's not that insane, no need to exaggerate :) Say that you're moving D7 - G, and instead you play D7 - Bm. That Bm is almost a complete Gmaj7 chord without G in the bass. Explore the whole G major scale: from the scale perspective, Em is close to Cmaj7 which is close to Am9, which is almost a D13sus4. All these chords are made of the notes of the G major scale. They're like family.
My mind was blown when I realized that secondary leading tone chords roots were the upper half of a V7 chord (the dim part) and how they and secondary dominants are intertwined
it all starts with the bass note C#, which is a passing tone between notes C and D. Now, you can play A7/C# but you can also play C#dim7 (notes C# - E - G - Bb).
Yes, A7 is both the V of D and often Dm. But as I’m showing here - we’re not borrowing it. It’s the result of the chromatic passing tone I showed in the video.
Not really, because we’re in C Major after all, and all we do is move to the II with a small addition. I wouldn’t turn my focus to the Dm now seeing it as the target if a separate progression :)
Yes, definitely. You can play a progression in C major: C - A7 - D7 - G7 - C. It's a more chromatic version of C - Am7 - Dm7 - G7- C. Why chromatic? Because of the inner voice the moves C# (in A7) - C (in D7) - B (in G7).
If u were to have a D dominant in Cmaj, but it resolves to an Ebmaj, could u argue that the D dominant is a V/V coz the bVI is considered tonic in the key of the v?
Stan, the C major scale is indeed made of 7 notes, with not C#. But when playing music "in the key of C major" there are usually also "guest" or "family relative" notes that function as passing tones of approach tones, in addition to the seven primary notes.
I don’t understand theory but through listening over simple runs or phrase I get it y I sing too so…I better sing then( or play my guitars )but my exgf is no longer with me😢
What I don’t understand is the context of when to call it secondary dominant. Is it anytime we borrow from another key? We just call it secondary dominant? Or is it a specific chord only?
We don’t borrow these chords, they are the results of adding chromatic passing tones to the bass. Later on What started as C - A7/C# - Dm becomes C - A7 - Dm. We can do it with the other scale degrees of C Major as well: add B7 before Em, So C - Em becomes C - B7 - Em. or adding E7 before Am, so C - Am becomes C - E7 - Am.
@@emery1057 ANY Diatonic chord in the scale, both Major or minor can have a Dominant that resolves to it... these Dominants are all called secondary Dominants. If you use the 1st inversion of the secondary Dominant, it will be a half step away from the target chord ... that of which the Dominant belongs to. This is why you have the chromatic movement in the root or lowest note.
My theory course: bit.ly/3GPQ0E1
You have a special gift for explaining concepts… I’m going to get the theory course, but I’ve been looking for a similar accompanying course that exclusively contains exercises (“playalongs”) to get the concepts into muscle memory… as many longer form videos to practice along to… the simpler the exercise the better. Is there anything like that in the course or would you ever consider making something like that? It would close the gap between understanding theory and being able to utilize it without thinking. Thank you!
Interesting how the chromatic passing tone naturally implies the secondary dominant harmony. Cool stuff !
Yes, at the deeper level you see that a lot of chords are the results of melodic stuff like passing tones, neighbor tones, etc
Such a satisfying progression
☺️
Strange, this is the first explanation of the secondary dominant that I've seen where it was not mentioned that the secondary dominant is the dominant or fifth of the target chord. A7 is the secondary dominant or 5th of Dm. B7 is secondary dominant for Em, C7 is the secondary dominant for F, etc.
I should have opened with saying that in C Major, A7 is the secondary dominant of Dm. What I did here is showing the voice-leading procedure that’s behind that A7 - Dm.
isn’t this type of chord progression called a Five of Two?
C major (I), A7 (V/II), Dm (II)?
Just a quick question
@@dr.guyshkolnik_composer So "a secondary dominant" is actually just the dominant of the second tone in the scale? (I'm so confused by English terminology.)
@@herrbonk3635 secondary dominant chords are the fifth away from a chord you intend to get to. Example here is he intends getting to the II (D min ) so he goes to A7 before arriving at his destination chord D min . Hope it helps.
@@herrbonk3635
ANY of the Diatonic chords can have a Secondary Dominant chord.
In it's First inversion the secondary Dominant is a semitone above it's target chord... or as the Dr. says built from the chromatic passing tone.
Thank you for the music vibes🥳
I’m glad you like it man! Thank you!
Thank you very much, this is great.
Thanks Lee!
Thank you sir.
Nicely explained Dr. Guy thank you
Thanks Jordan!
Interesting perspective in walking through the context of the secondary dominant. In this example, A7 is the V7 of ii.
Прекрасный пример гармоничного обращения! Благодарю, доктор!👍👍👍
Thank you Aleks! 🙏
Another excellent teaching! I have developed a fascination for chords with the 3rd in the bass, as they have an unsettled quality or tension that calls for resolving movement. Why is that?
I was just playing guitar and I had a eureka moment . That secondary dominant can be the 5 of a major or minor chord but... If you want you can resolve it to the minor iii of the new major chord.. it's insane what you can do with dominant 7 chords.
That's a nice move! but It's not that insane, no need to exaggerate :) Say that you're moving D7 - G, and instead you play D7 - Bm.
That Bm is almost a complete Gmaj7 chord without G in the bass.
Explore the whole G major scale: from the scale perspective, Em is close to Cmaj7 which is close to Am9, which is almost a D13sus4. All these chords are made of the notes of the G major scale. They're like family.
Great stuff doctor
Thank you!
My mind was blown when I realized that secondary leading tone chords roots were the upper half of a V7 chord (the dim part) and how they and secondary dominants are intertwined
Finally I understand secondary dominants
Thanks....
I think the A7 sounds so much better with that first inversion!
Simon and Garfunkel’s Overs vibes!
Good 👍
This has been the most difficult concept for me thus far
Where did you get A7/C# from how did you know.
it all starts with the bass note C#, which is a passing tone between notes C and D.
Now, you can play A7/C# but you can also play C#dim7 (notes C# - E - G - Bb).
@@dr.guyshkolnik_composer oh so you just picked a chord that has c# in it
Interesting 🎶
What kind of cool substitute can you play instead of A7?
I like Faug7
C#dim7 or Eb9 (the tritone substitution of A7)
Wirklich gut erklärt 👍
Thank you!!
Is it a secondary dominant because it is the dominant in the key of D Major? it is like borrowing from the D Major Key?
Yes, A7 is both the V of D and often Dm.
But as I’m showing here - we’re not borrowing it. It’s the result of the chromatic passing tone I showed in the video.
I didn't realize how chromatic dominant 7 chords are 😮
You could also say that it's the II-V-I movement to Dm, without it's II grade E. Could it be?
Not really, because we’re in C Major after all, and all we do is move to the II with a small addition. I wouldn’t turn my focus to the Dm now seeing it as the target if a separate progression :)
2nd dom is 5th of the 5th. So C is the key... G maj is the dom... D maj is the 2nd dom. Etc
Correct! In this video I also showed the counterpoint origin of this.
So can you have (theoretically) secondary dominant of the secondary dominant?
Yes, definitely. You can play a progression in C major: C - A7 - D7 - G7 - C.
It's a more chromatic version of C - Am7 - Dm7 - G7- C. Why chromatic? Because of the inner voice the moves C# (in A7) - C (in D7) - B (in G7).
If u were to have a D dominant in Cmaj, but it resolves to an Ebmaj, could u argue that the D dominant is a V/V coz the bVI is considered tonic in the key of the v?
Logan I usually see D7 - Eb as D7 - Gm, except you play the VI - Eb instead.
So instead of C - D7 - Gm, C - D7 - Eb.
@@dr.guyshkolnik_composer ok! Thank u guy, thats very helpful-i appreciate it!!
All I ask by Adele has a beautiful secondary dominant chord in the chorus
Can you create a secondary dominant from every chord in a scale?
You can, yes.
Noob question: why do you play c# note when you are in c maj scale?
Stan, the C major scale is indeed made of 7 notes, with not C#. But when playing music "in the key of C major" there are usually also "guest" or "family relative" notes that function as passing tones of approach tones, in addition to the seven primary notes.
I don’t understand theory but through listening over simple runs or phrase I get it y I sing too so…I better sing then( or play my guitars )but my exgf is no longer with me😢
these are all progressions that you've heard many times in songs, movie scores etc. So I'm not surprise at all you understand them intuitively.
Hang on, Why the A7 and not G7 if G is the dominant chord of the key?
this is a great practical example but it doesnt really tell what a secondary dominant is.
I'm planning another video on it with a better explanation.
What I don’t understand is the context of when to call it secondary dominant. Is it anytime we borrow from another key? We just call it secondary dominant? Or is it a specific chord only?
We don’t borrow these chords, they are the results of adding chromatic passing tones to the bass. Later on What started as C - A7/C# - Dm becomes C - A7 - Dm.
We can do it with the other scale degrees of C Major as well: add B7 before Em,
So
C - Em becomes C - B7 - Em.
or adding E7 before Am, so
C - Am becomes C - E7 - Am.
@@dr.guyshkolnik_composer so any dominant chord that doesn’t belong in the key to resolve to a minor is a “secondary” dominant?
@@emery1057
ANY Diatonic chord in the scale, both Major or minor can have a Dominant that resolves to it... these Dominants are all called secondary Dominants. If you use the 1st inversion of the secondary Dominant, it will be a half step away from the target chord ... that of which the Dominant belongs to. This is why you have the chromatic movement in the root or lowest note.
BRUH Omori 😢
WHEN YOU KNOW CHORDS , YOU SPREAD ALL THE FINGERS ACCROSS PIANO AND THEN TELLING THAT IS TEACHING ?😅 ONLY GOD KNOWS HOW TO STUDY THIS DAMN MACHINE
I want you to be my teacher
Emmanuel write me a dm on instagram (I'm there by the same name)
All I ask sung by Adele has this progression.
Yes, the beginning of the second part :)
not a good explanation, no mention of perfect cadence, smh