Secondary Dominants and How to Use Them

There's nothing secondary about this tasty jam we're using to explore the concept of adding secondary dominant voicings into your guitar playing!
If you want to learn more about dominant 7 chords check out this video: • Resolution and the Dom...
And also the Circle of 5ths video: • The Circle of 5ths EXP...
Hit me up on Twitter: / seandanielmusic
And Insta: / sean_daniel_music
www.seandanielmusic.com
Listen to the new album:
iTunes: goo.gl/kQCrbv
Spotify: goo.gl/wd2Wnd
Bandcamp: goo.gl/RgME6b
Soundcloud: goo.gl/e8QDYa
A little about me:
Sean Daniel is a man. A man of simple needs and desires. And the one desire, no, the one NEED, that stands above all is to spread the challenges, joy and intellectual stimulus of music to people of Earth and beyond.
Born on the mean streets of upper middle class suburban Chicago, Sean learned the ways of the world through the dizzying heights of success to the lonesome depths of failure and emerged with the promise of a better tomorrow reflecting in his eyes and fiery passion in his belly.
He plays and teaches guitar on his KZbin channel where he regularly releases original music and projects to the adulation of legions of fans, who often compare him to Chris Pratt and one time Ryan Reynolds. He’s currently in the market for a nice leather jacket.

[@danzonthebass]

Also you could use FALSE RESOLUTIONS to spice up your playing. For example an E7 resolves to an Am which has the notes (A,C,E) but it could also resolve to an F Major (F,A,C) and this works because both chords share 2 of the 3 notes.

[@seandaniel23]

Absolutely!

[@adnansusic1650]

Does this work for minor chords too? Like an F minor to an E minor

[@denomdemon]

I find huge value in coming back to your lessons after a few months. This is totally an "oooOOOoooh!" moment for me.

[@seandaniel23]

So cool to hear!

[@musicletters7214]

that explains a lot of chords I always thought shouldnt "theoretically" be in a certain chord progression but still work and I always wondered why. thanks so much.

[@seandaniel23]

Always happy to help!

[@jackstrada5263]

We use these 7th cords all the time in the Brazillian ayahuasca music in the Santo Daime ceremonies. It gives a Spanish feel to the songs in minor keys. Heres an example of a chord progression. Am 2 counts E7 2 counts Am 4 counts A7 4 counts D minor 8 counts A minor 4 counts E7 4 counts A minor for 4 counts to finish and start again with 2 counts A minor to repeat the progression. Same thing in the key of C major using C G7 C C7 F C G7 C. There are cool tricks you can do instead of playing the C7 chord, you slide down two frets to Bb/A# and just play that note as a transition to F. In A minor you can also slide up to C# note as a transition to D minor chord. I'm C you can also slide up to the E note as a transition to F chord. Play around with both transition chords like 7th chords as well as transition notes between chord changes.

[@seandaniel23]

Very cool, thanks for sharing!

[@jackstrada5263]

Sean Daniel I went to an Ayahuasca community of 1000 people in the middle of the Amazon. All they do there is drink Ayahuasca and play music for 10 hours straight every week. The children all hear this music from conception and learn to play from a young age. They have genetically evolved over generations like the African tribes to play their music. They play all by ear and make up crazy scales and runs you've never heard. I didn't really play when I was there. I just listened to the orchestra of 50+ musicians all pushing eachother to higher levels playing on psychedelics. I'd love to notate what they do and study it from a theory perspective to try and figure out what they doing.

[@calsakaguchi3267]

Super cool stuff!

[@victoroluwatobi1531]

Love the way you feel relaxed while explaining

[@pixelatedparcel]

For some reason, I am subscribed but have basically missed your content since I have taken up music and the guitar this past year. This is an excellent lesson and I will definitely put your channel in my regular rotation and explore your content which I imagine is both as informative and entertaining as this one. Practicing using a circle of fifth diagram should prove very handy for people who don't have this down cold. Also, to those wondering why this introduction of a new V7 chord isn't indicative of a change of key, this brief written explanation may be helpful. Consider a C-A7-Dmin-G7-C progression. Now both starting and ending chords indicate there is a strong possibility the key center is in C. This is confirmed by the presence of Dmin and G7, both of which come from harmonizing the C major scale as well as the fact that the progression ends with G7 (V7) to C (I): the surest indicator of key center in a major tonalty progression. Now, that A7's root makes it sound to the ear like a VI chord of C but following it up with the key's iimin chord estabishes it's function as a V chord in the progression, analytically speaking, hence the term "secondary dominant" (because there is only one "primary" dominant per key, G7 for C). Practically speaking, By throwing in the A7 is the progression just before the Dmin, the ear is now anticipating that Dmi because of the change in quality of that A chord...Hopes this enlightens anyone interested in theory applied to the fretboard. As an end note, this relationship (a secondary dominant setting up resolution to a diatonic chord) works for all diatonic chords, in both major and minor tonalities, other than the diminished chords which are too dissonant to resolve to...

[@seandaniel23]

So great to hear, and thanks for sharing the tips!!

[@pixelatedparcel]

Sean Daniel Well, this may sound quaint or cliché, but you online guitar guys provide such a valuable, valuable service to a lot of people...I wonder if you really realize it. I was in somewhat of a bad funk, in early 2017, and picking up the guitar thanks to this kind of channel was truly transformative and literally changed my life. I mean I could never go back to a life without the guitar and music theory. I an sure there are countless other cases like mine. Hope this motivantes, during the down days. Merry Xmas or whatever you guys say, nowadays.

[@seandaniel23]

Thanks so much for reaching out and saying so! Merry xmas to you too!

[@michaeldematteis3409]

Love this theory stuff

[@seandaniel23]

Thanks so much! I love talking about it!

[@down813]

Wonderful lesson... Secondary Dominants are one of the ways that you can effectively modulate from one key to another.

[@seandaniel23]

Thanks for watching Michael!

[@matth2868]

You explain these ideas perfectly. It's like giving my current theory knowledge steroids. Subscribed. Keep it up!

[@seandaniel23]

Welcome to the party!

[@DasKidGrandios]

I actually felt the exact way, watching a explanation of smth I already internalized. Isn't it kinda weird to realize that in all teaching styles there's not one best way to teach but it really needs the style diversity !

[@jerrywilson4371]

Very nice! I've done this before when noodling around with chord progressions accidentally. Now I know why it works and can save some time when searching for the sound required.Thanks man

[@seandaniel23]

Happy to help Jerry!

[@coreyhicks9900]

Cmaj7, Am7, E7, F, Fm is one I like a lot. That minor plagal cadence is absolutely beautiful.

[@seandaniel23]

Such a great progression.

[@SteveMeiers]

What a great description, Sean! Instant clarity on secondary dominants! Thank you!

[@jjjordanashurst]

Keep doing these vids man, very helpful and better than the others on youtube 👍 you just make it a lot easier to understand

[@seandaniel23]

Thanks so much Jordan!

[@williamhalley2870]

Great way to sneak in some stealthy theory for the masses who normally eschew it as technical frippery (not to be confused with Robert Fripp-ery). Kudos and whatnot.

[@seandaniel23]

Always gotta sneak the good stuff in.

[@williamhalley2870]

Hells yeah!

[@niconico4138]

I'm playing the Circle of Fourths in all Dominant chords and I can't stop. Help! It's going round and round!

[@seandaniel23]

NOOOOOOO MAKE IT STOP!

[@milade92]

hey, in case you haven't check it out yet, have a look at b5 subs for your dominants(for example in key of C try C#7 Dom instead of G7(b5 of G).Also, there's the b3 sub. idea which gets it a little out there ,more like an Alt Dom Sound but it could spice things up sometimes

[@Zerothnz]

Great vid Sean. I tend to blank on theory when writing songs, and my theory isn't great to begin with, but after I write something I'll analyze it and often I end up using these types of progressions just naturally, because it sounds cool to my ears. I'm glad to have had these cool sounds explained to me, so thank you!

[@seandaniel23]

Happy to help Josh! Keep rockin!

[@walterobrien467]

Thank you Sean. I need this for my audition. I need to do an instrumental kind of thing. God Bless Brotha!😊

[@michaelyork4554]

Almost sounded like some Steve Howe there near the end, Nice, this is the heart of real guitar playing, Thanks

[@seandaniel23]

Thanks so much Michael!

[@APEMAN168]

i’m becoming more and more of a fan of u…. u r very good in incorporating sofisticated and complicated materials for the common average player like myself…

[@shreydon35]

Sean Daniel, you legend. This lesson was like a breakthrough moment for me.

[@seandaniel23]

My favorite thing to hear!

[@shreydon35]

Small doubt, will the e7 chord work for A major rather than A minor?

[@danzonthebass]

Yes it will!

[@remyQuillmeister]

Makes me think of Randy Newman. Always loved this sound, but never knew what it was called (or how to do it on purpose). Awesome.

[@seandaniel23]

Find your inner-Randy my man!

[@TheEric03041]

I use secondary dominants to change my key and come back,They are very useful

[@seandaniel23]

Always a good call :)

[@jasonkesser]

One of your best videos ever bro! Thank you so much

[@michaeltrueblood2545]

Nice explanation. Helpful. Thank you.

[@donaldbutcher1260]

Very informative and I am sure it will be a great help. Thanks.

[@seandaniel23]

Happy to help!

[@nixneato]

1:29 - But what if I told there was a secondary dominant ? 3:49 - I don't wanna hear anything about this Bm7 5b chord because not talking about it. Ok we're subbing :)

[@wendellglance5893]

Great stuff Sean thank you

[@seandaniel23]

Happy to help!

[@johnszczudlik2306]

Nice lesson Sean. Great info, thanks!!!

[@seandaniel23]

Thanks for watching John!

[@melissaw1130]

It's like you read my mind! I just started learning about this over the weekend. Question: To be a secondary dominant, does it always have to be a dominant 7 chord? Say in the key of C, can you go from E > G and still be V/V? Or E > Am and still be V/vi?

[@seandaniel23]

Someone can correct me if I'm wrong here, but I believe it technically needs to be a dominant 7 chord by the textbook definition BUT if you just play the triad (like in your example) it'll still fit and sound ok, but won't give as dramatic of a tension and release feel, but still totally workable.

[@tommckee5671]

Sean - great lesson. I was sorta aware of “secondary dominants” but never knew their name. This lesson totally crystalized this for me and opened up possibilites. Thanks for enlightening me with this taste of music theory. One question I’ve notice that secondary dominants are often used to change the key of a song. Can you do a video on how that works?

[@seandaniel23]

So great to hear! I'll put another vid on changing keys on the list :)

[@chase36chase]

0:55 "....everyones favorite chord" . dat swag löl

[@seandaniel23]

:)

[@leebraly3904]

Great video. Thanks for sharing your ideas.

[@seandaniel23]

Thanks Lee!

[@rocachick860]

Great lesson oh maestro

[@seandaniel23]

Always happy to help!

[@34rn357]

Thanks for this very good lesson! Especially liked the 2ndary Dom to 6 chord idea. Are you going to do a lesson about the 2ndary doms and _their_ related ii's?

[@seandaniel23]

Good idea for a vid!

[@Oceansideca1987]

All I know is your collar is dominating that sweater . Great video !!!!

[@seandaniel23]

That collar is a scene stealer.

[@jeffreygarcia3982]

Amazing

[@seandaniel23]

Thanks for watching Jeffrey!

[@downhill240]

Excellent lesson! Merry Christmas Sean!!

[@seandaniel23]

Merry Christmas to you!

[@arthurmee]

Include the taboo chord please, namely the chord based on the seventh degree otherwise like other taboo subjects children will stray. Better to talk about it with them in a supportive environment now. :)

[@Ilovetosingem]

Hi Sean. I notice from the comment below about False Resolutions. When you said biro chord, well it sounded like biro, you were in the key of C, to E7 F G back to C, what would you call that E7 chord as it's not really a secondary dominant as you say it goes to Am. Thanks for the info and the thought of adding the secondary dominants to to C Am F G7 progression. Brill thanks a lot and keep safe.

[@brutexrp7207]

I suppose it works on flat chords as well. Eb7 from Cb7 (B7) as an example!

[@evandxn]

I just realized the secondary dominant in a key is also the II chord. The ii of C is D which is also the V of G. So you can do a I-II progression or a I-ii. How cool

[@stephenbouchelle7706]

This is much more logical than my method. I just keep dropping random chords into my I IV V base and see if it sounds good. Nice to have a focus to work on.

[@erictaylor3236]

Hey Sean, amazing video! You’re videos are improving my play so much. I have a question though. Could I use diminished chords that aren’t in the key to resolve the 4th and 6th? For example if I were in the key of G could I be playing around and throw a Bmin7b5 in there to resolve a C? I hope that makes sense. Again, thank you so much for what you’re doing to my guitar playing and understanding of theory!

[@seandaniel23]

Totally! I personally think of an diminished chord as resolving to a major chord a half-step higher or a major 7 chord a half-step lower. Moving in 'non-diatonic' ways is what gives you a voice as a player/composer.

[@erictaylor3236]

Sean Daniel I haven’t thought to use a major 7 to resolve a half step lower. That’s really cool! Thank you again! Best guitar teacher on KZbin!

[@tonickmusic2867]

Sean, life - or - death quetion: Why does minor 4th sounds soo good as a secondary dominant?(ex. Fm - C)

[@seandaniel23]

Great question! So an Fm has the notes F-Ab-C whereas the C major is C-E-G. So they both share the C, but the cool thing about a minor 4 are the other 2 notes (F and Ab) are exactly one semitone higher than the other 2 notes in a C (E-G), so it's just barely trying to get to that C until they both descend to it.

[@camfre4k]

Haha thanks man. Cool trick, is it possible to go to chords outside the key as well, like if I was playing a F7 and going to a Bb? And also the progression you’re playing reminds me of toy story haha

[@seandaniel23]

Always possible! And the guy that did the Toy Story soundtrack for sure uses secondary dominants all the time so it's no surprise!

[@elliotskunk]

Sean, Bless up! I'm struggling tho man. Im tryna noodle in and out of keys, but how can I get better at figuring out the 5 of different notes in the key? also, do you have any vids on moving scales up and down the neck (i.e to solo freely within a key?) Cheers!

[@baSsDiaRy01]

nice😍😍

[@barrycoulter6951]

Does a secondary dom have to b used bfore its ‘1’?

[@Tanglangfa]

Can you do a video on “guessing where this song is going?” That would be really useful, and I see a lot of my musician friends doing this.

[@seandaniel23]

Interesting idea for a video

[@jakefry6919]

9:10 piedmont roll?

[@emmahudson3625]

Fucking legend

[@kenwilson5620]

i think you you meant D sharp at around 3:00

[@GR_BackingTracks]

Can it be a secondary dominant if it's the fourth secondary dominant you've used in that song? That doesn't seem quite... grammatical?

[@seandaniel23]

You just broke my brain.

[@jammts1]

Man I almost understood it!!!

[@RuisRydo1205]

Interesting video...

[@seandaniel23]

Thanks for checking it out!

[@mugabonzizafredy234]

Is there a shortcut to ear mastery and be sure to hear song progression when it goes to 4 or 6 or 2 or else where in a diatonic degree ! Because no matter what you can play i can imitate them because i memorized all chord formulas and construction ! I m looking a way out to master how to hear that a song goes to 4 or 6 or 5 Plz work on this in deep ! Refer back to when you were too beginner to ear and hearing /listening music and show the tricks you came out from that far

[@seandaniel23]

Great question. I think it really comes from learning a bunch of songs and then looking for the similarities in them. Specifically focus on the I-V sound and everything else will fall into place.

[@mugabonzizafredy234]

Sean Daniel thanks alot brother

[@DasKidGrandios]

This is a kind of out of the system approach, but if u are someone who has an real passion for what you are doing try emotional hygiene. As I first learned singing as an adult I had master intervals very quick because I was receptive for them on an emotional view, if you come from that standpoint the skill will quickly transferring in improvising! As you will be connected to all the scales intuivly. sometimes later when I first tried to teach singing, a lot of student told me in resonance that the mere reminder on the emotional part is very helpful. Some didn't find it helpful at all, at every time they had emotional issues So if you're are really serious about that or just interested try emotional hygiene, which would be things like: good sleeping cycle if you are like 99% of us and sleep sensitive, minimize mind altering or toxic substances, meditate 20mins daily stuff like this...

[@eraera1084]

Why didn't you play an Eminor7th?

[@seandaniel23]

You could and get a similar effect (as it should be to stay in the key), but using a dominant 7th has more of an 'unresolved' sound.

[@basvandriel3622]

But when taking the minor scale and finding the dominant 7th chord this is at it's 7th position. In this case A minor is the relative minor of C major. Why do you need to take the A major and the 5th position and not the minor variants (the 7th position)? Is this vica versa aswell?

[@seandaniel23]

If I understand the question, if you're in A minor, (or any key/mode), the 5th degree away (when used as a dominant 7 chord) can always bring you back home.

[@basvandriel3622]

Sean Daniel But when taking the minor scale. The dominant 7th chord is at the 7th position of the scale right? (VIl) so why the fifth?

[@TheEric03041]

@@basvandriel3622 No! Because minor is the 6th of major key thay is 1st

[@TheEric03041]

@@basvandriel3622 and Dominant is the fifth position of major key

[@setalaka]

taylor ga 4?! I have the same one!

[@seandaniel23]

Such a great guitar! It's actually a GA3, but really same difference. I actually kind of prefer the ovangkol on yours! A little lighter :)

[@MrZigzou]

What happened with your cloths? Did you go on a interview before shooting the video? :)

[@seandaniel23]

just keeping it classy ;0

[@ZackRamsey14]

Interesting to know that when the third chord in a key becomes a Dominant 7 instead of a minor chord, it comes from the harmonic minor scale. When playing in minor, alot of progressions will make the 5 chord a major dominant instead of minor because it pulls so strongly back to the minor tonic (the 6th chord in a major setting). This creates the harmonic minor scale. When you keep that major dominant chord but move to the major tonic, it creates that major dominant 3rd chord which sounds lovely.

[@seandaniel23]

Definitely interesting to analyze how all those chord progressions work.

[@webdev_telugu]

Any song or songs that use this?

[@seandaniel23]

Beatles used them a lot, here's a good vid kzbin.info/www/bejne/a37Vmp1jZcR8a5o

[@handsome_man69]

handsome man

[@gulfcoastbeemer]

Sean, your Secondary Dominate example tracks pretty darn closely to changes in the Beatles: You Never Give Me Your Money.

[@seandaniel23]

Great minds must think alike ;)

[@danh7739]

What he's trying to say is; learn the cycle of 4ths/5ths. I Thank You and good Luck.

[@Open4991]

Jazz Blues progressions use a boatload of secondary dominants.

[@seandaniel23]

Definitely.