How SECONDARY DOMINANTS Go Beyond Diatonic Harmony

[@Gee-no]

This is great, Ryan. Like a mini masterclass in sec doms. I enjoyed the examples/explanations. Keep up the great work.

[@RyanLeach]

Glad you enjoyed it!

[@dimensionstomorrow]

That center of gravity explanation is great. So easy to understand. This is really helpful!

[@RyanLeach]

Thanks. I think there's probably a whole "harmonic functions" metaphor that could be made there.

[@tdijon7]

I studied music in my undergraduate degree, and I compose and arrange semi-professionally. This is by far the best explanation of secondary dominants I have come across. I loved the solar system and the planets analogy.

[@Diamond_Eyes_24]

Wow! - your sun > planet > moon analogy really helped my understanding. Thanks Ryan.

[@RyanLeach]

Thanks, I need to incorporate more metaphors for sure!

[@Videokeys]

to be honest, you're one of the most underrated music lecturer, so calming yet easy to grasp. keep it Sir!

[@douglasbroccone3144]

Yeah I love his vids Really relatable Analogies Love the solar system metaphor

[@ethanbagley471]

My favorite part of a V/V in a minor key, is you get a raised 6th in context of the original key which sets up a very nice melodic minor sense of motion. Absolutely love this video. I haven't used Secondary dominants very often and it's always been difficult for me to know when to use a little bit more unconventional ones like V/iii or even V/ii. Awesome video

[@kankaok125]

Ah I see what u mean

[@kiwij1424]

You prefer the raised sixth in a sec dom? What about the flat fifth? Tritone of the tonic? Personally I find that colour more interesting but each to their own I guess

[@veggiemush]

The idea of relative gravity is fantastic, thank you

[@pikupikuseru]

Wow. I was playing on my keyboard so I could try to follow along and wrap my head around the concepts. My immediate idea was so go from a V's subdominant, since that felt like the most intuitive place to start (C -> D -> G). And I was shocked to find out that movement is exactly what Queen uses in Somebody To Love. (Ab -> Bb -> Eb) I feel like this answered a question I've had for so long, but didn't know the words for. This relationship is so cool!! This is definitely something I'm writing down.

[@HashtagObi]

That Sun. Planet. Moon. example is so perfect. Have watched loads of videos but that animation was 10/10

[@potato5830]

Really appreciative we’re able to get such great information thoroughly explained in such a concise, straightforward format. Thank you so much!

[@RyanLeach]

I appreciate it!

[@jvilmi]

This is all over Japanese music in general, not just anime, going back to the 70's at least. Funk and soul, pop, soundtracks, indie rock, metal, even in classical (Takashi Yoshimatsu). Some old euromovie soundtracks (Morricone, Francis Lai etc.) also do this a lot, but they seem less interested in staying in any one key, instead just constantly morphing and moving to different ones with borrowed chords and transpositions and whatnot, yet it all holds together perfectly. Very helpful video, you have a knack for explaining these things in an accessible way.

[@RyanLeach]

Yea it's a defining feature for some reason! I'm a big fan of Yaosobi and the chromatic's in the melody on those secondary dominants are usually the most interesting parts of the melody. I wonder if anyone has looked into why it's such a common harmonic device?

[@Warlowisnumberone]

Without a doubt the clearest explanation of this subject!

[@GooBoi_]

I just gotta say, I've been trying to figure out harmony so much these past couple months and your videos have helped me TREMENDOUSLY! Thank you!!

[@robinbelanger4294]

I'm really curious, I always hear that Mozart uses a lot of V of V in his work and I'd love a video kind of following this exploring why, what is V / V to Mozart, how does he use it, why does he like it so much, how would the music be different without it?

[@DukeIrritable]

Thanks for your clear explanation, Ryan. I think you'll find V/iii in "Sexy Sadie" and "Martha My Dear" on the White Album. Two very different songwriters using the same esoteric trick on the same album.

[@kurthartle5473]

I'm really enjoying the examples and explanations. Thank you!

[@RyanLeach]

Glad you like them!

[@trasimagenes7801]

Great video, the solar system analogy is really accurate, thank you and greetings from Spain.

[@uffevonlauterbach]

This just might be the best explanation of Secondary Dominants I've heard and watched. I had to go back a few times to better understand it, though. Of course, that's most likely on me, because I have a learning disability. But I was watching this and replicating the chords in FL Studio. At first, I didn't understand why the secondary dominant would be D minor. But as I started writing out each of the letters into a triad, I began to pick it up better, making me realize why it wasn't D, F#, A. Each triad is to remain with only white keys and no accidentals. After understanding that, it helped me better understand the rest of this video. Thank you very much for making this video!

[@RyanLeach]

A secondary dominant will always be a dominant 7th chord, so if you are seeing a Dm then it's not a secondary dominant. Which example was that in? If you mean around 2:30 then Dm is the target chord, but A7 is the secondary dominant because it is the dominant chord from the key of D minor.

[@uffevonlauterbach]

@@RyanLeach Ooh! OK! Sorry. I made a mistake. 😥 Thanks for your explanation. I was trying to understand why it was C and Dm, and not DM and forgot that I was supposed to focus on the dominant chord itself. Excuse my last comment.

[@ercumentturkses6041]

Such a clear lecture! Not confusing, right on the topic! Thank you sir. I get it better now thanks to you!

[@etistyle96]

really well explained. that's so clear ! It's a big breath of fresh air for me who just started to dive into music theory.

[@robinbelanger4294]

I've been frantically binging all your videos since I found you - you're so GOOD at this! This one, for me, is really fantastic (not that they alll aren't). So clear and well illustrated. Also metaphors/models that let me visualise structure and relationship like gravity and the solar system is so incredibly useful for me and how I think (why I play chess and like physics). So I'd love to see more of them!

[@HeavenestStCyr]

That planetary system analogy did something to my brain...idk what... but something. And I love it!

[@RyanLeach]

What's another music theory topic you would like to see a video about?

[@e7mac693]

Chromatic Mediant chords!

[@RyanLeach]

Of course! Although I think we need a more user friendly name.

[@Gee-no]

How about reharmonization?

[@fungalroot]

Thank you for taking the time to share your knowledge, your videos are very educational

[@samucarodrigof]

Thank you Ryan. Very good content with clear explanation.

[@alaindubois1505]

I think why this video is so great is your perspective from film score and modes first, then going into the usual 'pop' [contemporary] kind of chord progressions. I never studied chord progressions, but was also challenged to not end on the tonic decades ago. It satisfies our western description of modes to go from dark to light, or from happy or 'forthright' to sad or sinister, but while something sung in a foreign language in a 'dark' mode may bring us to tears, I would rather say a change into a 'darker' mode takes us to another plane [or planet]. Instead of sad, dark or sinister, I could add 'mysterious' or even a 'profound' surprise. So, the illustration of the solar system having the Sun as the fundamental tone/key/mode and moving to other planets is the best illustration I've heard of. I'd still challenge the notion that we must end where we begin. We may not need resolution, or we may be tricked into ending up at another solar system. Do we need to go home? [Could a lyrical dance piece have impressionistic chord movements rather than sticking to the more popular chord progressions? I haven't looked into orchestral film score chord changes yet.] I'll have to watch this again when my studio is set up. I'm glad to have found such great 'lessons'.

[@christopherravelbell8899]

Love the Solar System metaphor for secondary dominants.

[@DLCaster]

Truly a splendid tutorial and it demystified the concept of Secondary Dominants for me.

[@eduardotepoxteca9171]

Man you are the best explaining this kind of things even though I knew this topic the focus you give to them helped me to give it a wider perspective. Amazing channel

[@kimchee1000]

Your explanations are so refreshing

[@maximilianludwig7680]

Such a great concept, it makes music so much more interesting! Good voiceleading makes secondary dominants even "shinier", and less awkward. On a side note, the rhythm on Maxwells Silver Hammer has been notated with a few mistakes (e.g. dotted 8th note F# on beat 3 into 16th note E into D on beat 4 and dotted 8th notes in bar 2 and 3 are missing), but since this lesson isn't about rhythm, it's not so important.

[@howardhewitt1797]

So enjoyed this. The examples make all the difference. Thanks!

[@quantumexilemusic]

This was absolutely helpful, this really made me understand harmony better. Thank you!

[@ComposerRocks]

I think of secondary dominants as: In a chord progression where a chromatic chord would add some welcome color from the diatonic chords of the scale, select any degree of the scale, other than the tonic, to which you want to go ("target chord"); but instead of going to the target chord immediately, go to its V7 chord first and THEN to the target chord. So, in key of C Maj, instead of, say, I - IV - vi - V - I (C - F - Am - G - C), where Am is the target chord in the progression, try I - IV - III7 - vi - I (C - F - E7 - Am - G - C) .

[@parkercadmin3666]

Hello! This video and your Modes explanation video are incredible. Tasteful and helpful examples with easyyyyyy to understand explanation!

[@violacomedy]

I found this out myself by playing Beethoven (badly) on the piano and finding out it was (nearly) all cadences!! Glad to know it has a name. Great lecture

[@mr88cet]

I like your Sun-planet analogy! Secondary dominants often appear right after the diatonic chord on the same root. So, possibly an even-better illustration (easier to see and hear than C A7 Dm G C), might be C F _Dm D7_ G G7 C.

[@2002jorgeparr]

You are AWESOME 😎 RYAN!!!!

[@mmt1335]

Your channel is a blessing Ryan 🙏 Thank you for all the great content !

[@art1co]

The comparation with gravity and solar system is totally accurate

[@SnowAngelfish]

5:20 i think you meant theres a B natural in the G major not G minor. Nice vid. Liked the planets and gravitation analogy. Very cool.

[@pavelsabacky]

That solar system analogy is very poetic and understandable, it should be used in all harmony books ! :-D

[@maximilianbeiel6812]

Great content! In 13:44 in bar 5, the Dm6/F could be considered as B7/F (not too unstable because of the downwards walking base (G-F-E)), but functioning as the 5th of E7.

[@tinikadavis2412]

And you see the pattern of 2-5-1 in Cm Bars 11, 12, 13) that cadenced to 2-5-1 of Bb (13, 14, 15)

[@nizzbeats]

THANK YOU!

[@Archangel_Michaels]

Music is a gift of God and you are doing God's work here on earth, blessings !

[@bjulin]

Thanks a lot!

[@ttguitarstringstt1550]

Thanks again! I find you videos very helpful

[@nmonye01]

Great video

[@SpaghettiToaster]

The Hare Hare Yukai example is a modulation.

[@nigeldarrah4573]

Wonderful analogy with the universe and orbiting planets (and the orbiting moons of each). I just didn’t understand when we borrow the V of a chord and bring it in, are we keeping the sharps/flats within the key of the chord we borrowed from, or adapting it to fit the center scale/mood/universe we are in?

[@RyanLeach]

Borrow from the target key. So if you are in C major and going for the V of G, which is D, use F#

[@unclemick-synths]

This is great 👍

[@colinliaubass1712]

I use the same analogy of how the notes/chords react the tonic is the sun is the tonic and the other chords are the other planets😄

[@MultiDman2011]

I’m a little confused, when you pick a degree that is diatonically minor to derive a new dominant from the corresponding key, how is the 5th degree of the newly formed minor diatonic structure always dominant?Shouldn’t the 5th degree be a minor/minor 7 if you follow the structure of diatonic harmony in the minor format? What is it I’m missing? Plz help 😭

[@MultiDman2011]

I’m new to theory, so idk if I explained my question well enough. Like the diatonic structure is M m m M M m d M And say you picked the 2nd degree to derive the secondary dominance. The diatonic structure for the minor would be the same as it is for the major, but started from the 6th degree instead of the first, right? Making it m d M m m M M m So when you’re using that newly formed diatonic harmonic structure to find the new secondary dominant chord, wouldn’t it be the 5th degree of that newly formed structure, making it minor and not dominant? Or am I overthinking or missing something?

[@RyanLeach]

In minor keys we traditionally use the "harmonic minor" to get the V chord, because it has a stronger resolution. So in A minor you raise G to G# because it leads better G# to A.

[@MultiDman2011]

@@RyanLeach I see, took a minute to register😅, but I understand now. Thank you so much for the clarity and wonderful and informative music theory content! I never thought about constructing diatonic harmony using any other forms of the minor scale until now.

[@johnwade7430]

The Oxford Harmony is a pretty good intro to Secondary Dominants - Bk 2 I think.

[@RyanLeach]

Nice I'll have to check that one out.

[@RemyLuciani]

Great video! I have a quick question: on Bohemian Rhapsody, why the G7/B to Cm on bars 4 and 5 is a V/ii? Did you mean V/vi? :)

[@johnh14159]

Kakariko village reminds me of chopin nocturne op 9 no 2.

[@joeldcanfield_spinhead]

@13:43 I want to be sure I have this right. Does that mean the E A D G is V of V of V, then V of V, then V to I?

[@JustinTrudeau1971]

Amazing video. I thought a secondary dominant had to be a seventh chord? No?

[@paulwelding]

Love this channel, your explanations are easy to grasp, one thing though, the ambient noise of your room from the microphone is off putting, maybe consider capturing your audio from the keyboard and adding it later so you don’t hear the key presses. Other than that, awesome work.

[@RyanLeach]

Thanks Paul, glad you like the videos.This is one of the first videos I ever made, don't worry I've improved the production value since then!

[@AltaMihartescu]

at min 2:11 in the C major key example, are those the diatonic chords of D minor? I am having troubles finding A7. Triads or 7ths they all look like the 5th will be an A minor or A minor 7. I am not sure what I am doing wrong.

[@RyanLeach]

It’s only A minor in “natural minor” but there’s also melodic minor and harmonic minor, which raise the 7th scale degree. So in the key of D minor it’s a C#.

[@AltaMihartescu]

@@RyanLeach I think I figured...the key word is dominant here, no kidding :) ...we always talk about dominant V and that's always a V...like V7/II or V7/V meaning in the key of C wither A7 either D7...E7 B7 and so on...no?

[@papaschlumpf1390]

*shows secondary dominants of I to VI Somewhere out of a dark corner: "There is another"

[@ChrisMuellerMusic]

That is a really good video. What I still don’t understand, is why you - or the concept of secondary dominants - say, that the five chord in minor is major. I mean, I get why it has to be major in order to work as a dominant chord, but „when zooming in to the planetary level“ and thus treating the new chord as our new tonal/key center, to me, every minor mode has some sort of a minor chord on the fifth degree of the scale. So why is it, that all of a sudden, a major chord is on the fifth degree of the minor scale? What don’t I understand?!

[@wandamccurine846]

Ryan will you help me to understand how to use the secondary chords when I'm playing? Please help!!!🙁

[@OneDrunkWizard]

I don't understand why, in your example, you use A7 as a dominant for Dm instead of just Am? Why a major 3rd/flat 7?

[@ahknown2755]

is it ok when using the secondary dominants, if the melody uses the notes of those secondary dominant chords while theey're being played?

[@RyanLeach]

Yes of course. If you use the raised third (for example G# in an E7 chord) you will probably want it to resolve up to A. If you use the b7 (eg. the D in E7) it will sounds good to resolve down to C or C#

[@ronfrancis6012]

Well, I'm totally confused by what you're doing. When you say "go into the key of Cm", what key is that? If you mean a relative minor, (in this case Cm Aeolian}, then it should be Gm7 is diatonic to that key, not G7. Likewise it can't be C Melodic Minor because, even though id does have a G7, A and B are not flattened, and C Harmonic Minor doesn't have a flattened B. Am I missing something obvious? Can you please explain how that is the key of Cm, and/or why there is a G7 in it?

[@RyanLeach]

The V chord is typically raised to major in minor keys. It comes from the harmonic minor. In minor key pieces natural, melodic, and harmonic minor are not exclusive but all three can be and are used

[@ronfrancis6012]

@@RyanLeach, Thanks so much Ryan. It seems minor keys/modes are more flexible than I had realised. :)

[@mumbisolomon8085]

❤❤❤❤

[@ShaharHarshuv]

8:17 don't you mean secondary dominant of the vi? (Cm is the vi of Eb)

[@RyanLeach]

Yup should’ve said five of six

[@samfletcher5368]

I’m confused, cause every google search says the 5th chord of Dm is Am.

[@RyanLeach]

This might help explain harmonic minor kzbin.info/www/bejne/fKjIn6Z3aslnpJI

[@joeldcanfield_spinhead]

Immediately followed this with David Bennett's vid on secondary dominants, and besides Bohemian Rhapsody for V of iii he points out Mr. Sandman by the Chordettes, which includes a fun amplification of the whole concept: kzbin.info/www/bejne/pn7SoYB4nq1-nLMsi=dg5GmoJzv97kY2HF&t=550

[@faithouma5205]

Jazz harmony

[@freewheelburning8834]

your a funny guy

[@duqueadriano0081]

create discord server.

[@RyanLeach]

discord.gg/UY9P4bbW

[@clubandbardjs]

Good video….Fair play… I can hear your pedals…..and the cosmic stufff……leave it out…..