Heh. Just had this discussion with my music teacher a couple weeks ago. I'm like, "So the secondary dominant is changing to a new key. We're modulating". And he's like "Whoa. No, we're just borrowing the chord and playing something non-diatonic for one bar". And I'm like "But we're really just in another key for a sec and then returning to the original key". And he's like "No, no. Yes, you can use it to go to another key, but since you're continuing in the original key you're really just borrowing the chord". And I'm like "What?" so he's like "Look, it sounds good so that's why we do it". And of course I have to be like "Okay, then this weird chord that isn't in the original or secondary key sounds good to me". And he's like "Fine. Play what sounds good, but that's not how people generally do it". Then I whipped off my mask and said "Ha! It's Paul McCartney! I've been here the entire time!"
Borrowed chords usually relate to parallel minor or major versions of the key you're playing in actually. If you want to modulate, All you really gotta do is stay on that secondary dominant as an example and emphasize it for a while and start playing in that key. Now you have modulated to that key. If you return to the original key promptly however and are playing chords and melody in that key. You have not modulated. You have just as they say, tonicized the secondary dominant briefly before returning to be within key without it sounding "out of key". You COULD call it a temporary mini modulation I guess. But the main thing to understand here is that it fits in with the original key, and you resolve it within the original key. "We" don't call it modulation unless you actually modulate to this new key and it becomes THE tonic henceforth and for a longer while at the very least, meaning you won't be playing the same notes/melody and chords/harmony before you modulated, because you'll have modulated to a different key. And also, I try chords on for a size all the time that I have no idea of if they are in key or whatever.. But that doesn't mean you can't get a whole lot more out of writing down your diatonic and parallels, and dominants / secondary dominants, and think about modulating to the dominant or whatever .. whatever you come up with, there is a music theory "reason" for why it works. Paul McCartney included. Chords that are used to modulate to another key are referred to as pivot chords..
"Nobody knows you when you're down and out" is a brilliant, accessible place to start teaching this and nobody plays it better than Clapton; ruclips.net/video/DE2JQp4okao/видео.htmlsi=Zj-IBSiQqrbu6pQ1
As a middle child and the only musician in my family I relate to this video so much 😂😂 And I'd like to experiment with different voicings | G/C G#/E7 | Am9 Bb/C7 | A/Fmaj7 A/D7 F#m7b5 | B/G G7 | The A/D7 to F#m7b5 is to be played for a single beat each
You've got a gift there for laying things out in an unusual and engaging manner. In other words...thank you! I've never thought of secondary dominants quite this way!
It is always a pleasure to be on your page and watch each of your videos, in each of them you learn something different, new and in an understandable and accessible way. Congratulations and thanks for everything.
This hit at the perfect time! I'm trying to memorize all my secondary dominants. Figured out how to easily find them on the neck, but I wanna commit the names to memory.
Okay, I know this is about secondary dominants, but I just wanted to say that I find your voice and accent really quite beautiful. I’m European and English isn’t my first language but it was my major, and I do love the sound of your accent. Now, if only I could grasp all the nuances of music theory!
You're right for thinking about them this way, actually! I'm making a longer video on this soon...there's technically a difference between Secondary Dominants and borrowed chords. secondary dominants a sub catagory of borrowed chords. The strategy of Borrowed Chords casts a much wider net than secondary dominant.
@@LessonsWithLindy thanks, I thought it must have because I have actually used borrowed chords that aren’t dominants, I was beginning to doubt myself 😆. I just used the old thought that if it sounds good it is good 👍🏼
You can also borrow chords from other keys that aren’t the secondary dominant. Like in a minor key you can use a major V7 instead of a minor v7 because it’s borrowing from the harmonic minor scale to get that natural 7th interval. Feel free to try it out. And if you want an extra cool chord try a V7 with a major 3rd (of the chord) and a minor 3rd (of the chord). It’s a neat chord.
Coupla things: using a V7 (in a minor key G7 in cm for example) is not borrowing. They call it the “harmonic” minor scale because it is used for “harmony,” the creation of chords. G7 is not a borrowed chord in c minor. Likewise, the melodic minor scale is used for - you guessed it, melody. So, the raised 6th and 7th of that scale are not dissonant in a minor key (a natural and b natural in cm for example). Using a minor dominant in a minor key (g minor chord in c minor key) is a “modal” use of the chord. The concept of secondary dominants only applies to”tonal” harmony (as opposed to modal harmony). The major scale is also a mode - yes, I know, and thus begins another discussion on influence of the tri-tone in western classical music.
I know you are doing a great job teaching us the theory and why the theory in a smart, fun and engaging way but I'm truly sorry that I still didn't get it lol I know this will improve my chord melody journey but sometimes things don't click or they don't click as fast as I would like them to lol
As a nuclear physicist who majored in jazz at the prestigious (and now defunct) Jebidiah Hornswaggler Jazz University in 1931 and trans mommy of 2 adopted squids that both absolutely loath theory, this made both of them love studying theory so much they ran out into the middle of the busy intersection outside of our moon colony and get struck instantly by a speeding unmanned Amazon Sedan 29E! I can't thank you enough! What a breath of fresh air for such stuffy subject matter!
What a pretty guitar. Pretty young lady, too, but I'm not supposed to notice. I like your guitar, Lindy. That's a lot of good information in a short video.
That first example doesn't demonstrate secondary dominants. Am is the relative minor to C, so going from C to E7 means you were in A harmonic minor the whole time. This is better demonstrated when the parental keys of the 1st and 3rd chord are different.
In order to establish a key, or tonal center, typically, you need a dominant/tonic relationship. Or, as is the case here, the ear will hear the C major chord first and that is its (the ear’s) tonal center - albeit momentarily. moving to E7 creates an ambiguity although our ear expects a minor to follow (which it does). Only at that time could you say you are in a minor (as opposed to being in a minor all along). The ear just won’t hear it that way.
If you listen to enough hendrixband Greg koch, you will soon learn that dominant 7ths can be used pretty much everywhere and especially chromatically, There are no rules at all with them.
Can't you also change chord quality to change keys (like change Amin7 to A7), or is that always just a parallel change/borrowed chords? I have heard that parallel key changes don't really work as key changes and I have had a hard time making it sound like a transition when experimenting.
@@humanseekingtruth6080 no it's not it's a little myth people think, (or rather some of people think not everybody). Knowing music theory does nothing but expand your ability to create new and interesting music. Music theory doesn't trap anybody in a box only your own mind does that. You won't find people in other arts saying things like that. You won't find painters saying I'm glad I didn't learn how different types of paint work and how to mix oils or use watercolours. You won't find potters saying I'm glad I didn't have a teacher who showed me how to throw pots or taught me about the different temperatures for firing them and how to use a kiln...
She mentions it's the dominant 7 of Am, so therefore it will be major chord with a minor 7th by design. Good to not overload people upfront with music theory.
Not sure this makes sense. Why wouldn’t she use an E7? Yes, e minor is the iii of C major, but that is the whole point of secondary dominants - harmonic variety and adventure. You know what a sequence is, right? Simply the cycle of fifths - which is, ahem, a cycle of secondary dominants.
Current year, hot chicks teach you mainstream music theory for songwriting on guitar. Capitalism is literally doing everything in its power to squeeze the last inch of entertainment out of us. I don't know about this reality...
Keep going and working hard to improve your talents and always walk with God! 🌱🐢 God loves you and created you for great things. God bless you and your family. "10 For we are His workmanship, created in Christ Jesus for good works, which God prepared beforehand that we should walk in them.". Ephesians 2:10. Read, please: Romans 10:8-13. *To be saved you need to be born again* God loves you and wants to change your life. 😊
![Lethal Company Music Video 🎵 "Follow The Orders" [VERSION A]](http://i.ytimg.com/vi/QeooZB4Z7RA/mqdefault.jpg)
Heh. Just had this discussion with my music teacher a couple weeks ago. I'm like, "So the secondary dominant is changing to a new key. We're modulating". And he's like "Whoa. No, we're just borrowing the chord and playing something non-diatonic for one bar". And I'm like "But we're really just in another key for a sec and then returning to the original key". And he's like "No, no. Yes, you can use it to go to another key, but since you're continuing in the original key you're really just borrowing the chord". And I'm like "What?" so he's like "Look, it sounds good so that's why we do it". And of course I have to be like "Okay, then this weird chord that isn't in the original or secondary key sounds good to me". And he's like "Fine. Play what sounds good, but that's not how people generally do it". Then I whipped off my mask and said "Ha! It's Paul McCartney! I've been here the entire time!"
@joshuagodinez5867 lol you should’ve ended with “I got blisters on me fingers you while you teaching this bolocks!”
Borrowed chords usually relate to parallel minor or major versions of the key you're playing in actually.
If you want to modulate, All you really gotta do is stay on that secondary dominant as an example and emphasize it for a while and start playing in that key. Now you have modulated to that key. If you return to the original key promptly however and are playing chords and melody in that key. You have not modulated.
You have just as they say, tonicized the secondary dominant briefly before returning to be within key without it sounding "out of key".
You COULD call it a temporary mini modulation I guess.
But the main thing to understand here is that it fits in with the original key, and you resolve it within the original key.
"We" don't call it modulation unless you actually modulate to this new key and it becomes THE tonic henceforth and for a longer while at the very least, meaning you won't be playing the same notes/melody and chords/harmony before you modulated, because you'll have modulated to a different key.
And also, I try chords on for a size all the time that I have no idea of if they are in key or whatever..
But that doesn't mean you can't get a whole lot more out of writing down your diatonic and parallels, and dominants / secondary dominants, and think about modulating to the dominant or whatever .. whatever you come up with, there is a music theory "reason" for why it works. Paul McCartney included.
Chords that are used to modulate to another key are referred to as pivot chords..
I’m a full-time musician and music educator and this was a freaking masterclass.
Going to steal 80% of this for my lessons! Thank you!
"Nobody knows you when you're down and out" is a brilliant, accessible place to start teaching this and nobody plays it better than Clapton; ruclips.net/video/DE2JQp4okao/видео.htmlsi=Zj-IBSiQqrbu6pQ1
I’m a Harmony teacher at Berklee College of Music. What a perfect description of secondary dominants!
Dude, this is phenomenal
You managed to teach in one minute what others aren’t able to do in an hour
Correction:
That's a dudette!!!!! As in female!!!! Young lady!!!!!
AND she is very pretty!!!
@@genewilliams617 simp…
I love those inlays
As a middle child and the only musician in my family
I relate to this video so much 😂😂
And I'd like to experiment with different voicings
| G/C G#/E7 | Am9 Bb/C7 | A/Fmaj7 A/D7 F#m7b5 | B/G G7 |
The A/D7 to F#m7b5 is to be played for a single beat each
music theory doesn't direct you, it explains why your ear wants what it wants. saves a lot of effort actually.
Agreed 👍 I wish more people understood this. Music is the dog, theory is the tail even though some people think it's the other way round!
@@unclemick-synthsalso agree. In no universe did music theory come before practice.
Both you and this video make no sense
@@baplotnik but your reply does?
@@reghunt2487 yeah whats so hard to understand about it lol
You've got a gift there for laying things out in an unusual and engaging manner.
In other words...thank you! I've never thought of secondary dominants quite this way!
Great way to explain dominant 7s. Loved the middle child analogy. Keep up the good work. I know you’ll find a huge audience.
As a single dad I finally get the recognition of being a mom all while trying to watch a video on guitar chords.
Neat.
It is always a pleasure to be on your page and watch each of your videos, in each of them you learn something different, new and in an understandable and accessible way. Congratulations and thanks for everything.
This hit at the perfect time! I'm trying to memorize all my secondary dominants. Figured out how to easily find them on the neck, but I wanna commit the names to memory.
All the names of the secondary dominants are the same as the dominants.
So confusing yet also insightful
You okay beautifully. Great lesson ❤. Love your mic too! Sounds amazing
That's a musician and an actor in the same time.
Thank you 👍🙂
I just found this and I love it! 🙂 You have a gift for teaching. 🙃
Well done young lady!
Great video. Sidenote - I'm always telling pupils to use fingers 2, 3 + 4 to make a G when moving to/from F, for a quicker transition.
You are an awesome teacher and that is the best
explanation - EVER! Thank you very much
Okay, I know this is about secondary dominants, but I just wanted to say that I find your voice and accent really quite beautiful. I’m European and English isn’t my first language but it was my major, and I do love the sound of your accent. Now, if only I could grasp all the nuances of music theory!
Thanks, nice exercise in how to tie together a sneaky key change.
Wow, this helped me to understa secondary dominants so easily. Thank you for the video
This is so useful! Thank you!!
Interesting, I knew about borrowed chords but didn’t think about them being secondary dominants until you’ve done this 😂
You're right for thinking about them this way, actually! I'm making a longer video on this soon...there's technically a difference between Secondary Dominants and borrowed chords. secondary dominants a sub catagory of borrowed chords. The strategy of Borrowed Chords casts a much wider net than secondary dominant.
@@LessonsWithLindy thanks, I thought it must have because I have actually used borrowed chords that aren’t dominants, I was beginning to doubt myself 😆. I just used the old thought that if it sounds good it is good 👍🏼
@@LessonsWithLindyGlad you clarified that.
Love the vid and the last part made me laff out loud at work❤❤
Excellent video 👍🎸 best to you
Super interesting and I love learning from you 😂
Thanks!
You can also borrow chords from other keys that aren’t the secondary dominant. Like in a minor key you can use a major V7 instead of a minor v7 because it’s borrowing from the harmonic minor scale to get that natural 7th interval. Feel free to try it out. And if you want an extra cool chord try a V7 with a major 3rd (of the chord) and a minor 3rd (of the chord). It’s a neat chord.
Coupla things: using a V7 (in a minor key G7 in cm for example) is not borrowing. They call it the “harmonic” minor scale because it is used for “harmony,” the creation of chords. G7 is not a borrowed chord in c minor. Likewise, the melodic minor scale is used for - you guessed it, melody. So, the raised 6th and 7th of that scale are not dissonant in a minor key (a natural and b natural in cm for example). Using a minor dominant in a minor key (g minor chord in c minor key) is a “modal” use of the chord. The concept of secondary dominants only applies to”tonal” harmony (as opposed to modal harmony). The major scale is also a mode - yes, I know, and thus begins another discussion on influence of the tri-tone in western classical music.
You’re communication skills are just as good if not better than your music skills, love your content
What an awesome explanation of this concept. I finally got it 😊🎉
Great lesson!
May actually be THE best explanation of secondary dominants I've heard. Even down to the XBox.
100%
I love your Deangelico, good lesson.
Good job 👍
Alright, I’m in. Subbed!
Nicely done 👍
Amazing video! Subscribed!
Excellent
This was so helpfull. Tsm!!!!
Tnx a bunch!....🎉
I guess I should’ve watched the whole video. 😁 “secondary dominant.” I’m learning.
That mf'n tonic always gaslighting me!!!
I am now interested in secondary dominants
I know you are doing a great job teaching us the theory and why the theory in a smart, fun and engaging way but I'm truly sorry that I still didn't get it lol I know this will improve my chord melody journey but sometimes things don't click or they don't click as fast as I would like them to lol
As a nuclear physicist who majored in jazz at the prestigious (and now defunct) Jebidiah Hornswaggler Jazz University in 1931 and trans mommy of 2 adopted squids that both absolutely loath theory, this made both of them love studying theory so much they ran out into the middle of the busy intersection outside of our moon colony and get struck instantly by a speeding unmanned Amazon Sedan 29E!
I can't thank you enough! What a breath of fresh air for such stuffy subject matter!
Top notch. 👍
Music theory is theory as it is written such. Music is what is listened to by us humans. Theory guides, the ear, the heart and the brain decides.
Amazing
Subscribed!
What a pretty guitar. Pretty young lady, too, but I'm not supposed to notice. I like your guitar, Lindy. That's a lot of good information in a short video.
Thats neat. Does it chug though?
D’Angelico! Clever Girl…❤
Damn, I wonder what this could sound like with Cush chords / modal interchange!!
It makes it sound like you’re going on a carefree adventure.
Can you do some Trower or Malmsteen ? ✨🎸✨☮️🇺🇸🏄🏽♀️
That first example doesn't demonstrate secondary dominants. Am is the relative minor to C, so going from C to E7 means you were in A harmonic minor the whole time. This is better demonstrated when the parental keys of the 1st and 3rd chord are different.
In order to establish a key, or tonal center, typically, you need a dominant/tonic relationship. Or, as is the case here, the ear will hear the C major chord first and that is its (the ear’s) tonal center - albeit momentarily. moving to E7 creates an ambiguity although our ear expects a minor to follow (which it does). Only at that time could you say you are in a minor (as opposed to being in a minor all along). The ear just won’t hear it that way.
Great little lesson! Think about where the music is going! Lead the listener to the next thing(chord). Thanks! Subscribing!
If you listen to enough hendrixband Greg koch, you will soon learn that dominant 7ths can be used pretty much everywhere and especially chromatically, There are no rules at all with them.
Cool!
❤❤❤
I have a degree in music, idk why I'm watching this.
Very well explained though!
Secondary dominants are overused. Try using secondary subdominants. I find that they sound especially good when played after the tonicized chord.
Very cool video. I just wish it wasn't vertical, but I'm a boomer
I have no idea what I just watched. I got some catching up to do !
This was total gibberish to me, but it sounds cool!
Can't you also change chord quality to change keys (like change Amin7 to A7), or is that always just a parallel change/borrowed chords? I have heard that parallel key changes don't really work as key changes and I have had a hard time making it sound like a transition when experimenting.
This was really cool and all but I still have no idea what you did
Dope
What is your background? Did you go to school 🎉 for music?
yes I did! I dropped out to tour in my early 20's tho. In the pandemic I shifted to influencer, and here I am.
@LessonsWithLindy as JY from STYX wrote "real life isn't like school, there are some lessons that just can't be taught".
U do purty muzik
🎸💙!
Hi🙂
U rule!😊
🎭🎭💯💯💯💯sounds like a plan
Hey, it is my turn on the xbox though hand it over.
Secondary dominant isn't a concept of music theory?
I don't get it, you're still starting on the C, so isn't C still the tonic?
You look like penny lane from always famous
I’m so glad I didn’t learn music theory before learning an instrument, I would trapped in this box, instead just playing what sounds good to me. 😂
@@Ana_crusis But it is SO right
@@humanseekingtruth6080
no it's not it's a little myth people think, (or rather some of people think not everybody).
Knowing music theory does nothing but expand your ability to create new and interesting music.
Music theory doesn't trap anybody in a box only your own mind does that.
You won't find people in other arts saying things like that. You won't find painters saying I'm glad I didn't learn how different types of paint work and how to mix oils or use watercolours.
You won't find potters saying I'm glad I didn't have a teacher who showed me how to throw pots or taught me about the different temperatures for firing them and how to use a kiln...
@@Ana_crusis You should really learn to recognize a joke
@@Ana_crusis And that’s your opinion. My father learned music theory in school and college, but he instead plays what sounds good to him.
@@Ana_crusis Flea from Red Hot Chili Peppers expressed being happy that he leaned to play by ear first, before learning music theory.
I lerned me some moosic
No, that’s not what I was thinking.
It took me a while to make the XBOX-mom aphorism click in my head 🥴
Relative minor is what a minor is to C
why do you call these 7th chords when they're actually _dominant_ 7th chords?
Music theory cannot tell me what to do with my chords cuz we don't know each other 😂
It all sounds good, but my secondary dominant found out about my primary dominant…..let’s just say…it was a bad night 🤔 💋💋💋💋💋
Beautifull girl ❤❤😄😄😄
,,,gee sven cee maj,,,
Doesn’t explain why the E wouldn’t be an E minor 7. The sound is good but she skipped a few steps in theory and jumped into harmonic minor.
She mentions it's the dominant 7 of Am, so therefore it will be major chord with a minor 7th by design. Good to not overload people upfront with music theory.
Not sure this makes sense. Why wouldn’t she use an E7? Yes, e minor is the iii of C major, but that is the whole point of secondary dominants - harmonic variety and adventure. You know what a sequence is, right? Simply the cycle of fifths - which is, ahem, a cycle of secondary dominants.
Minors should never be allowed to have a tonic, especially with gin
I’M THE MOM!
is being the middle child the reason I didn’t get music lessons?
You lost me at C7
Wait, Im the mom?! F*ck...
Im just gonna say a bunch of shit and hope you buy it!
Current year, hot chicks teach you mainstream music theory for songwriting on guitar. Capitalism is literally doing everything in its power to squeeze the last inch of entertainment out of us. I don't know about this reality...
Keep going and working hard to improve your talents and always walk with God! 🌱🐢
God loves you and created you for great things. God bless you and your family.
"10 For we are His workmanship, created in Christ Jesus for good works, which God prepared beforehand that we should walk in them.".
Ephesians 2:10.
Read, please: Romans 10:8-13.
*To be saved you need to be born again*
God loves you and wants to change your life. 😊
Bla bla bla….Relative minor chord …Bla bla bla
Music theory sucks , kinda like your playing