Music Theory for Guitar - Chord Progressions with Secondary Dominants

Learn how to use Secondary Dominants to spice up chord progressions
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“Music Theory for Guitar”

Free! Beginner Chords and Chord Progressions eGuide

This is lesson 4.17 from our series “Music Theory For Guitar”

For Lesson 1:

*Lesson 1.1: Intervals and how to play them on 1 string up to an octave
*Lesson 1.2: Intervals between the open strings
*Lesson 1.3: Intervals and Interval shapes
*Lesson 1.4: Octaves and Octave Shapes
*Lesson 1.5: Unison notes and Unison note shapes
*Lesson 1.6: The Musical Alphabet and Chromatic Scale
*Lesson 1.7: The Major Scale
*Lesson 1.8: Intervals of the Major Scale
*Lesson 1.9: Major Scale Patterns
*Lesson 1.10: Upper Intervals of the Major Scale
*Lesson 1.11: The difference between Major Scale Patterns and Positions
*Lesson 1.12: Major Scale – Fretboard Insight
*Lesson 1.13: Major Scale Keys
*Lesson 1.14: More in-depth Major Scale Insights
*Lesson 1.15: Sharps and Flats in each key
*Lesson 2.1: Major Triads
*Lesson 2.2: minor Triads
*Lesson 2.3: Diminished Triads
*Lesson 2.4: Augmented Triads
*Lesson 2.5: Major Triad to Minor, Diminished and Augmented
*Lesson 2.6: Triad Shapes all String Sets
*Lesson 2.7: Triad Inversions
*Lesson 2.8: Triad Inversions Vertical
*Lesson 2.9: Augmented Triad Inversions
*Lesson 2.10: Diatonic Major Scale Triads
*Lesson 2.11: Harmonized Major Scale
*Lesson 2.12: Major Scale Chord Progressions
*Lesson 2.13: Find the key of a Chord Progression (song)
*Lesson 2.14: Open Triads
*Lesson 2.15: Harmonized Major Scale with Triads
*Lesson 2.16: Harmonized Major Scale with Intervals
*Lesson 3.1: 7th Chords
*Lesson 3.2: 7th Chords Construction
*Lesson 3.3: Close Position 7th Chords
*Lesson 3.4: Drop 2 Chords
*Lesson 3.5: Drop 3 Chords
*Lesson 3.6: Diminished 7th Chord Inversions
*Lesson 3.7: Major 7th to Dominant 7th to minor 7th to minor 7th flat 5 to diminished 7th
*Lesson 3.8: Diatonic Major Scale 7th Chords
*Lesson 3.9: Harmonized Major Scale with 7ths Chords
*Lesson 3.10: Harmonized Major Scale with Drop Chords
*Lesson 3.11: Chord Progressions with 7th Chords
*Lesson 3.12: Find the key of a progression (song) that has 7th chords
*Lesson 3.13: Relative minor Scale and Chord Progressions
*Lesson 3.14: Shell Voicings
*Lesson 3.15: Harmonized Major Scale with Shell Voicings
*Lesson 3.16: Drop 2 & 4 Chords
*Lesson 4.1: Major Scale One Chords and Construction
*Lesson 4.2: Major Scale One Chord Fingerings
*Lesson 4.3: Major Scale Two Chords and Construction
*Lesson 4.4: Major Scale Two Chords Fingerings
*Lesson 4.5: Major Scale Three Chords and Construction
*Lesson 4.6: Major Scale Four Chords and Construction
*Lesson 4.7: Major Scale Five Chords and Construction
*Lesson 4.8: Major Scale Five Chords Fingerings
*Lesson 4.9: Major Scale Six Chords and Construction
*Lesson 4.10: Major Scale Seven Chords and Construction
*Lesson 4.11: Suspended Chords and Construction
*Lesson 4.12: Power Chords
*Lesson 4.13: Review and New Chord Charts
*Lesson 4.14: Chord Progressions with Chords from Section
*Lesson 4.15: Slash Chords
*Lesson 4.16: Chord Progressions with Secondary Dominants

**Lesson 4.16: Learn how to spice up a Major Scale chord progression with Secondary Dominants

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[andersonsamuelphilip]

Chad i have told this before, i'm saying it again, you have a big heart. thank you these super resourceful videos.

[samkeer]

I've just watched about 10 of your videos in a row and I have to say you have answered a lot of questions I have had for a long time. The approaches you take and angle you look at music from is perfect for my brain and existing knowledge. I will definitely be watching more and using these to expand my playing and writing. Thank you so much

[timothybrown]

The best break down on secondary dominants

[pixelatedparcel]

For those interested in this type of stuff, the overall rule is that any diatonic chord except the viidim in major ( or iidim in minor) may be preceeded by its secondary dominant. Another way to look at it is a secondary dominant sounds like a variation on the diatonic chord sharing the same letter...So, the change in quality of that chord increases the sense of anticipation of the chord it is setting up. An example of this would be A7 which is not diatonic to the C maj scale but which sounds like a variation of Amin7 which is the vi chord of that scale. So, A7 would resolve to Dmin7, the iimin chord of the C maj scale (harmonized in sevenths). Functionally, the relation would be described: V7/iimin.

[DCeeMusik]

Thank you so much! I've been racking my brain for DECADES trying to get secondary dominants explained. Nobody in my circle would take the time to explain it.

Every time I created songs I would get stuck in all diatonic spots. Thanks to this, now I can start trying things and know what I'm doing. I like making music by just lucky key hits and strums, but a roadmap like this is just pure bliss!!

Once again: Thank you, thank you, thank you!!!

[alanhassa]

Thank you this is a clear visual explanation.

[arifturgan]

I watched several videos about secondary dominants i didnt understand.. now 'aha' thank uuuu

[Ngarukiyedaniel]

Sir, Bravo because your new style of teaching is very useful and understandable

[joelnilespeterson]

Just downloaded your “Music Theory for Guitar”, and it's an amazing resource. Rare to find someone willing to pass along so much important information. I am enjoying your videos and find them very well done and helpful. Thanks a lot.

[mohsombudha]

you are great sir... i m lucky to i learned many things from you love from nepal♥

[hcasting]

Wow that is one of the best quick music lesions that I've learned on YouTube !

3 quick questions :

1. Why there is no secondary dominant to the m7b5 ?

2. I have notice that the issue is always on how to resolve it to the next chord but I never heard someone speaking about the relationship to the chord from back. For example : C E7 Am. So the E7 is the secondary dominant to the Am but what about the relationship between the C to the E7? There is a meaning to that relationship that need to be treated as well but I never heard someone talk about it.

3. How should we threat the melody when using secondary dominant (all the secondary dominant chord are "out of key" chords.

Thanks for your great videos !

[dinoamous]

another great lesson! I really look forward to learning more jazz, I'll keep going from this ! Thank you for your work!!!

[fedearg]

Thank you very much! This is so useful and its explained very well! :)

[ultrapacmaker]

Thanks for the Amazing lessons...I'm actually moving forward !!!

[anthonyarmstrong]

Thank you very much for sharing. Well done

[RandyBakkelund]

Are secondary dominants always a perfect fifth above the desired note? I was wondering if they're sometimes a flat 5 or sharp five above the desired note? Also the 2 chord and 3 chord in harmonic minor is a diminished triad and augmented triad, so can you do secondary dominants over that?

[slickwillie]

The V/VII secondary dominant for the minor scale, shouldn't that be an F flat? Great video btw.

[justinmolanick]

Thank yoou beyond words or describability thank you so MUCH!!

[kevinkunofficial]

Is all secondary dominant should Dominant (A7, G7. D7)...?

[linograce]

What about the B dim were does it resolve bro?