EVERYTHING about the Secondary Dominant – Crystal-clear

improvising over the secondary dominant so what's in this video now first we'll see what the dominant chorde really is and then I will explain the ins and outs of the secondary dominant now we'll see some examples of songs that use the secondary dominant and then I will tell you about the beautiful deceptive Cadence using those secondary dominance and you'll be learning something about the diminished cord as a secondary dominant and we will see that trone substitutions work like a charm too for second dominance and at the end of this video we'll dive a little bit deeper and look at the back cycle technique which is a staple in jazz and a great tool for pop and rock now in a dionic skill we can build the chord on each of the seven notes of the skill in a major skill we have these chords and in a minor skill we have these chords now every musical Journey made with such a skill often begins and always ends at the first chord of the skill which is called the tonic it sounds and it feels like home every other chord in the skill D the tonic creates tension and is used for getting back to the [Music] tonic now the cord with the most tension is the major cord that is located on the fifth note of the skill and it's called the dominant or the dominant CHT it is always major the minor fifth degree in a minor skill is often changed to Major now you can find it by playing a power chord for instance also the note in the same threet but one string lower is the fifth from the skill or you can count seven Frets up or five Frets down anyway in C major the G major chord is the dominant chord and when you hear this chord your ears are begging for the tonic I want to go the 51 relation has the strongest resolution in music and especially when the dominant chord is a seventh chord the dominant seventh chord it is built from a root a major third a fifth and a minor 7th degree the strong resolution is caused by the strong 51 relationship between the root notes of both chords another reason is the appearance of a very unstable trione in the dominant seventh Court between the third and minor 7th of the court it's a dissonant diminished fifth interval that wants to resolve to the root and third of the tonic chord but even without that minor seven and thus without the Trion interval the major Tri on the fifth degree still pulls the music back to the tonic now we have seen that the court on the fifth degree is the dominant court and has the strongest resolution to the Tomic and we call this cord the primary dominance so let's take a look at the G major skill now when we build chords on each skill degree you see a G major a minor B minor C Major D major E minor and F diminished cord the chords that belong to a key or scale we call diatonic cords now let's take a look at this interesting progression in the key of G major that is inspired by an acoustic song by the Dutch V AA and it means it rains sunbeams anyway it sounds like this [Music] [Music] so every chord of the progression is diatonic except for the B dominant 7eventh chord because in G major we have a B minor 7th chord on the third degree so the B dominant seven chord doesn't belong to the G major key but it's sounds [Music] special as you could hear it adds color to the progression and maybe makes it a little more interesting to listen to the progression sounded logical but how is that possible with such an odd duck well it is because the B dominant 7even chord is the dominant chord for the next E minor chord the note B is the fifth note in the E minor skill which makes B major the dominant for E minor the BD dominant 7 chord pulls the music with strength to the E minor chord it is as if the E minor chord is very briefly the tonic instead of the G major chord which is the real tonic now we could say that the E minor chord has been briefly tonis sized so and this is important the B7 chord is the dominant for the sixth degree in G major and this is what we call a secondary dominant B dominant 7 is the secondary dominant for E min in the key of G major we can say that it is the five of six and it can be notated in these two ways now almost every skill degree other than tonic can have such a secondary dominance we just have to find the fifth note of the chord and build a major or dominant seven chord on that fifth degree a special case is the diminish chord in in a diatonic skill the secondary dominant for the diminished 7 degree does exist but it has no use since the diminished cord can't be tonz such an unstable and dissonant Court can never give us a feeling of resolution or homecoming so only the second third uh fourth fifth and sixth degree in a major skill can have a secondary dominant and in a minor skill the diminish chord lies on the second degree so in a minor scale the only chords with secondary dominance are the third fourth fifth sixth and seventh degree we'll take the c major scale as an example in the key of C Ma meure the fifth degree is a g dominant seventh chord and is the primary dominant for the tonic that's obvious right now for the secondary dominance in the key of C major will have a D minor chord on the second degree in the D Minor skill the fifth degree is the note a that makes a dominant s the primary dominant court for the tonic D Minor but when the D Minor is not the tonic and just one of the other courts like in the key of C major then the a dominant seven chord is the secondary dominant for D Minor so instead of playing C A minor D minor G we'll now use the secondary dominant a dominant 7 for the D minor chord and we'll play c a dominant 7 D minor G and in the key of C major the a dominant 7 chord is the five of two well that's easy [Music] right now the third degree in C major is the E minor chord and in the E minor skill the fifth degree is the note B that makes B dominant 7 the primary dominant chord for the Sonic E minor but when E minor is not the tonic like in the key of C major then the B dominant 7even chord is the secondary dominant for E minor instead of playing C A minor E minor G we'll use the B dominant 7 chord as a secondary dominant for E minor and play c b dominant 7 E minor and G in the key of C major the B dominant seven chord is the five of three [Music] [Applause] [Music] the fourth degree in C major is the F major Court in the F major skill the C dominant 7 court is the primary dominant for the F major court but when the F major court is not the tonic court and just one of the other courts like in the key of C major then C7 is the secondary dominance for F major and by the way something remarkable is happening here because the tonic of the main key the c major chord is now transformed into a dominant chord and serves as a secondary dominant for the fourth degree so in the key of C major the C dominant seven chord is the five of four now I think you get the picture right so let's quickly find the secondary dominance for the remaining two chords the fifth degree in C major is a G major court and the dominant for G major is the D dominant seven chord so in the key of C major the D dominant 7 chord is the secondary dominant for the G major chord the five of five the sixth degree in C major is the A minor chord and the dominant for a minor is e dominant 7 so in the key of C major the E dominant 7even chord is the secondary dominant for the a minor chord the five of six now this is how you find the secondary dominant now let's take a look at some popular songs that use secondary dominants well we'll start off with a classic in the song Big Girls Don't Cry written in the key of G major composer Bob gudo of the Four Seasons uses the E dominant 7even chord as a secondary dominant for the a minor chord a minor is the second degree in G major the note E is the fifth note in the a minor skill and that makes e dominant 7 the dominant for a minor in G major the E dominant seven chord is the five of two and it sounds like this [Music] in the auor of the song Bohemian repid by Queen uh that is in the key of E flat major at this stage of the song Freddy Mercury used a secondary dominant D major for the third degree G minor in the key of E flat now D major is not a part of the E flat major key instead it is a five of three the secondary dominant for the third degree G minor in the key of E flat major and more interesting uh things happen here by the way but I will explain that later in the video it's sounds like [Music] [Music] this now John Len and Paul McCartney used secondary d dominence in lots of their songs like for instance in the song Hey Jude now the song is an F major and the tonic F major 7 is changed to an fdin 7 CHT uh that then serves as a secondary dominant for the fourth degree in B flat major which is the first court of the chorus that follows the FD dominant 7th court is the fifth degree and dominant Court in the B flat major scale however in the key of F major which is the key of this song F dominant 7 is the five of four and it sounds like this [Music] [Applause] [Music] the secondary dominant for the primary dominant is probably the most used uh secondary dominant chord it is the five of five and for instance used uh by Billy Joel for his song Piano Man the kyc major and the secondary dominant is the D dominant 7 chord for the dominant G7 chord that leads to the G major chord in G major the fifth degree is the D major chord so the D dominant 7 chord is the dominant for the G major CHT but in the key of C major the D dominant 7th chord is the five or [Music] [Applause] five Billy eish uses the five of six throughout her song happier than ever in the key of C major now the E dominant seven chord is the secondary dominant of a minor and she also uses the half diminished second degree D Minor 7 flat 5 that is borrowed from the C minor skill it is a beautiful Melody that has some heartbreaking lyrics about the deceptive love of a teenage girl and it sounds something like this [Music] [Music] a remarkable and extensive used alternative for the five of six is when the secondary dominant doesn't resolve to the expected 6th degree but instead resolves to the four Court of the key of the progression and the key of G major the court on the sixth degree is an E Minor Court the secondary dominant for this e- Minor Court is the B dominant 7 Court in this alternative Cadence the B dominant 7 Court does not resolve as expected but instead it resolves to the fourth degree in G major it is a surprising change in the progression [Music] and when a Cadence doesn't lead to what is expected by The Listener then we'll speak of a so-called deceptive Cadence it happens also in the song Creep by radio hat for instance the song is in the key of G major and the B major chord is the secondary dominant for the E Minor Court in any normal situation the B major Court would resolve to that E Minor Court because B major is the dominant of E minor it would have been the five of six but now the B major cord resolves to C major which is the fourth chord of the G major skill and this is unexpected and it sounds very different and refreshing it is a perfect example of a deceptive gains [Music] [Music] now the diminished court has the same qualities as a dominant court regarding to the resolution to another Court this means that the diminished seven Court can be a secondary dominant two and if we compare the two chord structures then we'll see an overlap uh of the intervals the upper structure of the G dominant 7 chord with Den notes gbd andf is uh a diminished Tri b g F and this means that the G dominant 7 chord has three notes in common with the B diminished 7 chord that is built from the notes BDF and a flat now both courts together form a g dominant 7 flat 9 Court which is a so-called altered dominant court and has a very strong resolution to the tonic C major 7 all this means that we can substitute any dominant court for a diminished Court built on the third of the dominant Court G B7 and B diminish 7 for instance the diminish chord lies a half step or semitone below the Tona sized chord this is an example of the use of such a diminished Court the dsharp diminished s Court serves as the secondary dominant for the E Minor Court it is the upper structure of the B dominant 7 flat 9 chord which is the traditional secondary dominant for E minor so we can say that the diminish court is a rootless dominant 7 flat 9 Court [Music] now we can revisit the outro of Bohemian repid which is is in the key of E flat and see that Freddy Mercury uses the diminished secondary dominant for the 6th degree C minor namely the B diminish seven chord to note B is a semitone lower than the root of the C minor chord now we can also use the diminished chord as a deceptive Cadence in this progression in C meor the dsharp diminish seventh chord should resolve a half step up to E minor the five of three but if we replace the E minor 7 chord with for instance a D Minor 7 chord then we have created a very nice deceptive Cadence like this [Music] now if you are familiar with the tritone substitution that I covered in another tutorial then you can use this two as a secondary dominant short a trone substitution is a substitution of the primary dominant Court by another dominant court that lies a trone away from that primary dominant chord so we can substitute the G dominant 7 chord with the D flat dominant 7 chord to create an equally strong but different sounding resolution to the tonic it introduces the flat five the d flat and the flat 9 a flat which makes it a true altered sound and it sounds like this now we can apply this to the secondary dominance too let's revisit the classic Big Girls Don't Cry which is in the key of G major the secondary dominant is the E dominant seven chord which is the five of two and we can use the trone substitution of the E dominant 7 chord which is B flat 7 the progression sounds still recognizable but with a slight variation like this [Music] so using the trone substitution as a secondary dominant is a great way to enhance a progression that you have already enhanced with a secondary dominant it's the enhancement of the enhancement so to speak arent nonsense now when we look at the circle of fifths then we'll see counterclockwise a 51 relation between each consecutive note if you make dominant ches of each note then will create an endless chain of dominance and we can use this to enhance any progression or improvisation say we have a four bar lasting E minor 7 chord in the key of G major instead of just playing that one chord we can now determine the secondary dominant for the E minor 7 chord which is the B dominant 7 chord one step back in the circle of fifths and we'll use that chord to quickly change to B7 on a weak beat like this [Music] [Applause] but the B7 chord has a secondary dominant too which is another step back in the circle of fifths it is the fshp dominant 7 chord now now we can add both FP dominant 7 and B dominant 7 uh for a quick change like this [Music] now this technique is called back cycling and it is a staple in jazz you literally cycle backwards through the circle of fifths to find cords that are all secondary dominant of each other now you can go wild with this by cycling back even further and add more five of [Music] fives uh the song uh Mr Sandman for instance by Chad Atkins uses such a chain of dominance the key is a major and the second chord in the verse the G Shar dominant 7 chord is the start of a back cycle progression G Shar dominant 7 for CP csharp for fshp FP for b b for e and e for a and this creates a very strong progression with tons of gravity [Music] now there are a lot of more possibilities with back cycling like using diminished secondary dominance and trone substitutions that work super too but that's maybe for another tutorial so we've seen that the secondary dominant adds color and strength to the progression by Tona sizing another cord and tonic in the same progression we've also seen different ways to use a secondary dominant by using a deceptive Cadence for instance or using a diminished chord instead of a dominant seven chord using the trone substitution or apply back cycling in any case enough to play around with in the next tutorial I'll show you what skills and arpeggios and other means you can use to improvise over secondary dominance because that's fun too for now I hope this was crystal clear so go out there and own that secondary dominant like a boss I hope to see you next time and live long and prosper right should do that I mean live long and prosper both things so what are you waiting for what am I waiting for

Channel: QJamTracks

Views: 17,071

Keywords: Secondary dominant, Applied dominant, V of V, V/V, Jazz chord progressions, Pop Chord progression, Chord progressions, Better chord progressions, Make a song, Deceptive cadence, diminished secondary dominant, Tritone substitution, Back cycle, Back cycling, Hey Jude, Mr Sandman, bohemian rhapsody, bohemian rhapsody chord progression, Piano man, Creep, Happier than ever, Billi Eilish, Guitar lesson, Guitar tutorial, Composition lesson, Composition technique

Id: 1TPf8y9KEYg

Length: 22min 38sec (1358 seconds)

Published: Sat May 25 2024