Dr. B Music Theory Lesson 38 (Advanced Secondary Functions)

TOPICS:
0:00 - Circle of 5ths Sequences & Substitute Chords
5:26 - Enharmonic Spellings of Secondary Leading-Tone 7th Chords
11:17 - Deceptive Resolutions & Other Secondary Functions
15:16 - Lead sheet symbols to Roman numeral analysis

QUESTION on this lesson: "Does the whole secondary deceptive cadence (ending on VI/vi) have the same function as a normal vi chord in the main key? The vi has a tonic like function, so that would make sense! How far can it go, could any chord be replaced with a secondary deceptive cadence in its key?"

[GarryBurgess]

For "music theory", I find this amazingly practically useful. Without knowing this, it would be very difficult to just accidentally stumble over these interesting chord substitutions and progressions.

[wendychoi]

great great help, Dr. B. Thanks a lot!

[kititart]

thank you for your videos. they are very helpful!

[kblu]

OMG!!! The secondary functions using the Circle of fifths is AMAZING ❤️, if that makes sense 😊…I had to pause this video after the circle of fifths sequence lesson just so that I could absorb the beauty of chord progression once you demonstrated it on the piano 🤗!!! Did you use root position chords when you demonstrated on the piano?

[Elena-irvo]

at 16:15 you said it doesn't go to three chord, but A7 is a iii7 chord in the home key isn't it?

[charltonmoore]

You explain this very well. Thank you for this.

[andrewchen]

Dr. B, at 4:55 when you started playing E7 C#o7 D-7 G7 C, were you voice leading on the spot? If so, could you take me through your thought process? Were you thinking about guidelines such as alternating between incompletely and complete seventh chords? How does one get better at voice leading? As of right now, I am only playing the chords as they are generally spelled, or else it's gonna take me a good 20 seconds. Obviously playing the plain chord doesn't capture the beauty of voice leading, so I would love your advice on how to improve from that 20 seconds.

Thanks,
Andrew

[chessematics]

7:33 doesn't it really resolve down? I mean I⁶₄ is in no way a "resolution". It will eventually go to V. The A♮ WILL step down to G then. More like a chromatic escape tone

[zakerymizell]

Does the whole secondary deceptive cadence (ending on VI/vi) have the same function as a normal vi chord in the main key?

The vi has a tonic like function, so that would make sense! How far can it go, could any chord be replaced with a secondary deceptive cadence in its key?

[EdokLock]

It took me a good 10 minutes to digest it, but finally I got it, basically since Fmaj & dmin are basically the same, in that particular progression even if it doesn't make sense in the F maj scale if we look at it from the perspective of the Relative Minor in that same scale.. Is this correct?

[guidemeChrist]

If you substitute a Dm7 G7 with D7 G7 you are playing the wrong changes. In jazz this is crucial to know because a tune is not just its melody, it's the harmonic structure that is defined by always being on either a tonic or a dominant of a given key at a given moment. If you comp a D7 to G7 where the soloist knows the tune to be just G7 (with possibly its relative II chord, Dm7), you are gonna clash and the hippest ears will know who's to blame. If you want to substitute, use dominant chords and their respective II V's, that come from the same diminished chord. So for G7 play either G7, E7, Db7 or Bb7. GAS tunes deal with frequent modulations between key centers, not specific movements within a key center.