Maybe go slower?1) Secondary dominant is a dominant chord leading to any tone of the scale other than the tonic (the root, the 1).2) In this method, it involves “tonicizing” the other tones of the scale (that is, thinking of them as being the key you’re in temporarily). Secondary dominant is the fifth of any diatonic tone of a scale. Hearing it immediately helps establish tonality, or what key you're in.Not only is the dominant 7th chord unique to its key, but as we've seen in The dominant 7th is unique and defining of its key, and it is a forward-driving harmonic powerhouse moving us, propelling us, to new chords.The power of the dominant might be clear to you in the common V to I chord progression, but there are other ways to harness the power of the dominant 7th chord, too.We've discussed the power of the V to I in major keys and the V to i in minor keys. So, what’s the corresponding dominant in the key of E minor?Considering that the E minor triad is chord 3 in the key of C major, its dominant (B dominant seventh) is called Five of chord 3 literally means dominant of chord 3.
Resolution of secondary chords: Secondary dominant chords are resolved in the same way as a dominant chord would in diatonic harmony. If, in that tonality, the A7 chord appeared, that chord would be a “secondary dominant”, since it is a dominant that resolves in D, not in C (our tonic in this case). Bach, Gershwin, The Beatles, Willie Nelson, Stevie Wonder, David Bowie, The Eagles, Radiohead, Father John Misty, you name it, there are secondary dominant chords in there. So, we would have the sequence | D7 | G7 | C |, where D7 is the secondary dominant. (I told you early in the lessons that You may be wondering who is responsible for adding or applying the secondary dominant in a song: the songwriter, other instruments or the bass player?Often the secondary dominant chords are written into the song and all the musicians play and address them.In other instances, the bass player can imply and play them even if the rest of the band does not.
A diatonic secondary subdominant is not written, but its function is worth noting. B7 is the V of E … One chromatic path is: B - C - C# - D.So, we can temporarily use the V of wherever we are headed to create more tension and lead us to that chord.
these are just examples. Here is an example of a deceptive secondary dominant: V/vi to IV .
Instead, we briefly use the V (B7) used in the key of E minor.Regardless of the song's key, chords can be preceded by The secondary dominant works by harnessing the power of the dominant-to-tonic relationship to drive us to whatever chord we want.When we hear a dominant 7th chord, we naturally want to hear it resolve to a chord a fourth above. That's acceptable and people will understand, but saying “five of six” is quite clear and how I'd like you to think of it in the beginning.This progression, like many satisfying progressions, also contains chromatic movement between the chord tones: D - D# - E.Here we have the standard minor ii chord (Am) followed by a dominant chord built on the second note of the key (A7).
When improvising, you can continue using the C Major Scale over Secondary Chords (or use a different scale, it’s up to you).
to be more efficient in my ear training or even when I teach my students.