Thanks to Hook Theory for sponsoring this video. For a limited time you can get 20% off lifetime access to Hook Theory when you follow this link: www.hooktheory.com/davidbennett 🎼
@bin83502 жыл бұрын
What if I don't want to?
@Likeaforest2 жыл бұрын
i am an israeli bassist and you are a great teacher really i adore you at your age - thank you David you have a name of a king :) from my folk :)
@jkyles10002 жыл бұрын
I’ve got both Hook Theory books. They’re super awesome. I’ve got the Hook Pad but I haven’t used it much-but I still plan to. They’re written (vs video) but the examples are similar to here. The books start out extremely simple but by the end of the first book, it’s become somewhat challenging. About midway into the second it gets very deep. So from very simple to extremely challenging. With great examples and little quizzes to test your knowledge. Super awesome.
@nateds73262 жыл бұрын
I don't know if you'd be interested in this for like a video idea, cause it's not very music theory-ish, but I noticed this weird trend in alot of pop songs where the lead into the chorus starts with "and she/he said" or "and I said". Blinding Lights by the wknd, love story by Taylor swift, cool kids by echo Smith, semi charmed kind of life, shut up and dance, don't look back in anger kind of. It's like a lesser version of that thing where alot of songs use the word tonight at the end of their chorus.
@jasonmathis76622 жыл бұрын
@@jkyles1000 Thanks for this review, brother
@Reliquancy2 жыл бұрын
I think the tension really built through this video over the lack of Radiohead references and then resolved at the very end.
@fdmct2 жыл бұрын
This has got to be the best radiohead related comment on any of Davids videos hahahahahaha
@eriktempelman20972 жыл бұрын
Going for Comment of the Year, are we now? In other words... bloody brilliant.
@ericforsyth2 жыл бұрын
Damn, this comment is the top one and thus shows in the comment section preview on mobile. Had the tension spoiled 😂
@Reliquancy2 жыл бұрын
@@ericforsyth Oh, dang sorry.
@LonesomeTwin2 жыл бұрын
Imagine the suspense if the Beatles didn't crop up right at the start
@SyntagmaStation2 жыл бұрын
I don’t know anyone else on KZfaq who does the “here’s what it would have sounded like if . . .” method. A great teaching tool.
@zachary9632 жыл бұрын
V/ii. That’s it. That’s the “old-fashioned” sound I hear. That’s what it is. Amazing.
@calicosky98632 жыл бұрын
you mean VI
@quezquez30842 жыл бұрын
@@calicosky9863 He really means the five of two, which is the 6.
@kjl30802 жыл бұрын
you mean V/V/V/I?
@tiyenin2 жыл бұрын
@@kjl3080 Way to meta the Roman numerals. "I wrote it as a V/V/V/V/V/V." '... Isn't that just a I chord?' "STFU YUO DO'NT UNDERSTADN MY JENIS"
@rowenlampe74262 жыл бұрын
Right!? i always heard that progression in those 60s songs and knew they had something going on
@djywrites2 жыл бұрын
David teaching kindergarten maths: "So, as you can see, one and one and one is three - for example, in this song by The Beatles..."
@rogerstone30682 жыл бұрын
Got to be good-looking, 'cause he's so hard to see...
@antoniasalinas5132 жыл бұрын
I read that in a perfect David voice
@Oswlek2 жыл бұрын
Are you saying the numbers Come Together to form new sums?
@Greg-fb6jh2 жыл бұрын
They couldn't count the days in a week
@gooolixx2 жыл бұрын
@@Greg-fb6jh i think there's 8? not sure
@IamJacksSTD2 жыл бұрын
I first saw "Mr. Sandman" at the bottom of the screen and my brain said "Oh, Metallica." Then after two seconds my brain over-corrected course and made me think "Mr. Sandman, man me a sand."
@kjl30802 жыл бұрын
Car door hook hand
@singerofsongs4682 жыл бұрын
hahaha I’m glad we share the same set of references - I could totally see myself doing the same.
@Wind-nj5xz2 жыл бұрын
Enter Mr Sandman
@JustPlayItLoud2 жыл бұрын
Never really thought about why Mr. Sandman is SOOO satisfying, but it totally makes when you think about it. Yo dawg, I hear you like perfect cadences.
@gillianomotoso3282 жыл бұрын
Not just that, but a chain of them, coming from the distant-most note of the scale back to the tonic
@chrisjamesr772 жыл бұрын
I heard you like cadences so I put some cadences in your cadences
@KeithOtisEdwards2 жыл бұрын
That’s known as “Barbershop Harmony.” Barbershop Quartets typically sang consecutive and unresolved dominant seventh chords which conveniently have four pitches in them. Usually these chords followed the Circle of Fourths to the tonic, but sometimes they went almost Wagnerian. Ragtime also used consecutive and unresolved dominant sevenths.
@MendTheWorld2 жыл бұрын
If you like Mr. Sandman, here’s a version with some even more adventurous chord excursions, with genius lyrics as well. m.kzfaq.info/get/bejne/oZ9plbClzJregp8.html
@qqw7432 жыл бұрын
David is elite but never elitist. Name another music theory teacher who will throw both Radiohead and Dolly Parton at you as examples. Thanks for being normal about it. So much music appreciation or education is buiilt on elitism or "high art". The secondary message of this video is "music is music," regardless of popularity or cultural context. That's a great message.
@DavidBennettPiano2 жыл бұрын
Thank you!
@cswanson44762 ай бұрын
Actually, it’s not important to me whom he uses as examples, as long as I can _hear_ what he’s talking about in them, although it is helpful if the references are familiar to me, as I am thereby acquainted with their function in the rest of the piece. And I guess that’s the point of being eclectic: the broader the range he draws from, the more likely he is to access something familiar in each viewer’s experience.
@politicachata11642 жыл бұрын
It's absurd how boomers like me passed 40 years trying to understand things that David explains in 15 minutes. That's outrageous!!! Thanks so much, Dave, anyways. That is mastering in teaching, not even mantioning the overwelming acumulus of knowledge.
@musicappreciate Жыл бұрын
Precisely
@ShredmasterScott2 жыл бұрын
Ridiculously good teaching....I want to dominate these dominants muhaha
@DavidBennettPiano2 жыл бұрын
😁😁😁
@galladebutcooler86452 жыл бұрын
The Shredmaster never sleeps on music theory muhahahaha
@pablodmdp2 жыл бұрын
Dave’s the man
@annoschreier18602 жыл бұрын
"Life On Mars?" by David Bowie has lots of secondary dominants.
@charliejoseph64652 жыл бұрын
I think of them (having not known they had a name until now) as a very Bowie thing. Drive In Saturday and All The Young Dudes immediately spring to mind.
@henryporvaznik92882 жыл бұрын
@@charliejoseph6465 LOVE Bowie
@tovi32802 жыл бұрын
Why’d I think this was a gay joke at first lmao
@Henry3Studios2 жыл бұрын
Yes it uses the Major version of the VI chord on ‘To the girl with the mousey hair’, ‘as she walks through her sunken dream’, ‘and Mickey Mouse has grown up a cow’, and ‘From Ibiza to the Norfolk Broads’. Also it uses the secondary dominant built on the tonic in the pre-chorus, which is in Db Major on the ‘As they ask her to focus on’ and ‘As I ask you to focus on’.
@PotatoesAreUs2 жыл бұрын
It's no secret that Muse are big fans of the secondary dominant, but I think one of my favourite uses of it by them is "Survival". It's one of those songs where the key centre itself is fairly ambiguous, but it really feels like they try to bring out that unresolved feeling that comes with a secondary dominant. The main chord progression goes Bb -> Bb+ -> Ebm -> Ebm/F# -> B -> F# and then repeats.
@adrianhepton93622 жыл бұрын
Years of tension trying to resolve my understanding of secondary dominants resolved in 15 minutes. This clarity of teaching used to only be available to middle class people who could afford private lessons.
@naferemix2 жыл бұрын
I can’t believe this even has a name. I’ve always been drawn to songs that use this, especially the first kind, but I never knew how to describe it. When I taught myself piano I just used to hear it as a logical, emotive jump between chords, and I noticed it in so many muse tracks growing up. Also, Creep by Radiohead would sound great with G, B, Em, C albeit a much more common chord progression.
@peterphann2 жыл бұрын
Same, almost all of my favorite songs use secondary dominants in them
@tiyenin2 жыл бұрын
Never underestimate the power of the leading tone
@annieliina2 жыл бұрын
@@peterphann i kinda had the opposite experience, i was just learning about second dominant in music theory and i had no idea that they are this common, like i hadn't even ever noticed it. i guess i should start paying nore attention to what i hear in music
@roaldgranlund41482 жыл бұрын
Queen also uses the V/iii chord in The March Of The Black Queen, one of their earlier songs (and my personal favourite!), which is similar to Bohemian Rhapsody in many ways, sometimes being called Bohemian Rhapsody's older sibling. During the guitar solo in C major after the first chorus, a B major chord is used as a secondary dominant to lead to an E major chord, which sets up a return to the next section in the relative key of A minor. After the second chorus, the B chord is used almost the same way, except that it leads to an E minor chord instead of a major chord, as the song goes into its next section. During the instrumental break near the end (also in C major), the B chord is used as a dominant chord (not a secondary dominant) for a sudden modulation into E major for the coda. Very cool stuff, the V/iii is definitely my favourite secondary dominant.
@Alkadondon2 жыл бұрын
Also the chorus of New born by muse use vii°/iii
@gubblfisch3502 жыл бұрын
The verses of somebody to love uses the II7 chord a lot: I V vi I II7 V I V vi II7 V I II7 V II7 V IV
@amuesli53582 жыл бұрын
…I’ve always been internally struggling as to whether Back Queen or White Queen was Queens best song… aaah the struggle between Freddie and Brian. In your face creativity explosion or haunting subtlety building into a dramatic crescendo of harmonies. So hard to choose.
@Olleg.G10 ай бұрын
Yeah, I'm a big fun of this really underrated song! It's sounds and feel purely awesome!
@jacksondavies14512 жыл бұрын
I love the I-II7-V chord progression. It sounds great in Lydian and it’s also a perfect way to transition from Lydian to major👍
@nabhchandra_2 жыл бұрын
The last part of "15 minutes" by the strokes is just chaining secondary dominants together and therefore using all 12 major chords in the process, its cool
@vascosanchez Жыл бұрын
YES !!! I listen to that song all the time, because that part just feels too epic. I couldn't really describe what i was hearing, because i don't have perfect pitch, but i knew something interesting was happening. So cool too know!
@viktorceder49852 жыл бұрын
Third chord “resolving” to the 2 minor chord is a lovely sound. New light by John Mayer has a B7 that resolves to an Am, for example. When playing a 2/5/1, it’s always nice to add the major third chord before returning to the progression. So in C it could be something like: Dmin9-G7-Cmaj7-E7
@willh91042 жыл бұрын
Great comment!! I love this specific progression so much
@aleca41572 жыл бұрын
I believe another great example of use of a secondary dominate is in the chords progression of “She’s Electric” by Oasis. E major, G sharp dominant 7, C sharp minor, followed by A major makes a truly beautiful progression. Awesome vid!
@DavidBennettPiano2 жыл бұрын
Great example 😃
@devinboucher49632 жыл бұрын
The intro to Creep by Stone Temple Pilots is a great example. Starts in C then goes to B7 then resolves to Em then Em7. Great intro.
@BogotaBanana2 жыл бұрын
Mr. Blue Sky - Jeff Lynn / ELO love that song and if I heard it right. It uses a couple of secondary dominants.
@edwinlundmark2 жыл бұрын
This video is filled with Beatles examples and I’m *not* complaining!
@DavidBennettPiano2 жыл бұрын
That’s the way I like it!
@InventorZahran2 жыл бұрын
Steve Goodman uses a secondary dominant in 'City of New Orleans': the verse section ends on the I chord, but the chorus begins on the IV. To smoothen this transition, the I briefly turns into a I7, which resolves to the IV and serves to "kick-start" the next progression.
@JiveDadson2 жыл бұрын
Songs that modulate to the IV in the B section are ubiquitous in jazz. How many can we name?
@guitarmusic5242 жыл бұрын
In the popular music and jazz of the 1920s, most song progressions consisted largely of secondary dominants - perpetual secondary dominants, that is, as songs like Five Foot Two, Sweet Georgia Brown, etc. progressed through the cycle of fifths - or at least segments of the cycle.
@ThinWhiteAxe2 жыл бұрын
Saw Matt Bellamy and John Lennon and clicked so fast
@blueboy34922 жыл бұрын
Muses music is absolutely littered with them
@ThinWhiteAxe2 жыл бұрын
@@blueboy3492 facts
@johnmc38622 жыл бұрын
Lennon = Click.
@KyleDreeling2 жыл бұрын
@@blueboy3492 any examples? I’m a huge muse fan
@lubovx18562 жыл бұрын
I'm huge Muse fan too
@composer73252 жыл бұрын
Another excellent video. You are a brilliant teacher,David, thank you.
@DavidBennettPiano2 жыл бұрын
Thanks Peter!
@robster73162 жыл бұрын
Fun lesson, David. Secondary dominants sure play a big role in popular music. I like to think of them as stepping stones!😊
@bonesdog182 жыл бұрын
I really needed this video right now in my life. got In sort of a rut in a few songs with transitioning between parts. your videos are always so easy to understand and the examples help a lot. love what you do mate, thanks for everything.
@campsjams2 жыл бұрын
I’ve read the phrase “secondary dominant” so many times and glazed over. Thanks to your video, I now know that I’ve heard (and used!) this technique many times over. Cheers!
@craiggrunewald99315 ай бұрын
Best explanation of 2ndary Dominants around!
@DavidBennettPiano5 ай бұрын
Thank you!
@briankinney18712 жыл бұрын
Hooktheory is the perfect sponsor for this video! (They're my go-to choice for finding out what songs have similar chords if it's a progression I'm not as familiar with - including most of the ones with secondary dominants.)
@DavidBennettPiano2 жыл бұрын
Great 😃😃😃
@smkh28902 жыл бұрын
In fact, I use the HookPad, but there is a lot of free analysis of progressions in popular songs. The founders are from Berkley.
@ScottCooperStudio2 жыл бұрын
Nobody Knows You (When You're Down & Out) uses several secondary dominant movements. Thanks for explaining why this is such a totally satisfying progression.
@benwilliams58372 жыл бұрын
So I have a saxophone student who asks really interesting theory questions. This week he asked me why he had an accidental in his music, and I could tell that he could tell something was happening there. It was obvious to me that it was a secondary dominant progression just from the melody. So I explained the concept to him. What a coincidence that you did this video on the same day!! I'm definitely going to recommend your channel to him because I think he'll get a lot out of it!
@ArielHarto2 жыл бұрын
Great video, David. Do you know "Choro", an instrumental brazilian music genre? I think you could like it. It's like our version of Jazz, and it have a lot of exemples of secondary dominants. Also you can find a a lot of Neapolitan chords too. If you don't know this music, give it a chance. I suggest, for start, Doce de côco (coconut candy), de Jacob do Bandolim. Abraços!
@DavidBennettPiano2 жыл бұрын
Never heard of it, I’ll check it out now!
@visitur49142 жыл бұрын
Check out Baden Powell's Live at the Rio Jazz Club. There's a track on the back half that I think may've influenced Radiohead. You'll know it when you hear it.
@sophiegonzales26152 жыл бұрын
@@DavidBennettPiano tico tico no fubá and brasileirinho are another examples…I think you might know them
@rome81802 жыл бұрын
For the VII7, another example might be "Sexy Sadie" by The Beatles. Only thing I'm not sure about is whether it's a 7th chord or just a straight major chord. Either way, I feel it fills the same function -- especially since John Lennon sings the 7th in his melody. I love secondary dominants. My favorite is probably the VI7. A good example you didn't mention is "Daydream" by The Loving Spoonful. For modern examples, I believe NOFX does it here and there.
@wagner19542 жыл бұрын
Perfect!
@FoxVictorBravo3 ай бұрын
The beautiful melody and chord progression of MGMT’s Loss Of Life is another example of the use of a secondary dominant chord progression when moving from E to Am (ii chord in the key of G major). Incredible explanation - thank you for the video!
@dansteinbok79552 жыл бұрын
Three great secondary dominants are in the verses of What A Wonderful World by Louis Armstrong, the verse of Only You by The Platters, and in the bridge of Can't Help Falling In Love by Elvis Presley. Chaining dominants using the circle of fifths is also part of the ragtime turnaround, and one of the best parts of chaining dominants is that you get chromatic voice leading of the 3rd and 7ths (and their inversions) making it very easy to imply a chain of dominants with a chromatic walk down.
@ludwiglanestudios2 жыл бұрын
I am a musician/teacher as well- really good job with your explanations! I talk about secondary dominants in one of my Billy Joel Videos. Great job!
@warrenburroughs30252 жыл бұрын
Wow, I always thought that secondary dominants resolved by a 5th. I'm off to start working on some 'new' chord progressions.
@cyclonasaurusrex15252 жыл бұрын
I had to rewatch that section because it blew my mind.
@dinodinoulis9232 жыл бұрын
Really like the way that you show the difference between the altered and unaltered versions of the chord progressions
@DavidBennettPiano2 жыл бұрын
Cheers!
@coleleavitt12122 жыл бұрын
I really appreciate all of the work that goes into your videos David. Not only the knowledge that you have, but your ability to explain complex concepts simply and provide so many example. I'm sure it takes a lot of effort to put it all together. Thanks for helping me get more out of my love of music!
@carythesnail2 жыл бұрын
I have watched so many videos trying to understand secondary dominants and for some reason it just evaded my understanding but this video made it just click so easily for me. Nice job man!
@DavidBennettPiano2 жыл бұрын
Thanks!
@reggiehalstead20702 жыл бұрын
Another two great examples of a chain of secondary dominants are “Killing Me Softly” and “I Will Survive”.
@pilcaroo2 жыл бұрын
Beautiful songs. Although "I Will Survive" has a chord progression that goes down in fifths, the chords are not dominant chords, and are all diatonic - they belong to the key of the song. "killing me softly" is quite similiar. It's true that it has a chain of major chords a fifth down from each other, and I agree they have a dominant chain flavor to them, but if you check it you see none of them has a seventh, and they all naturally belong to the key of the song.
@garybryansongs2 жыл бұрын
Understanding where to look for that 'perfect' chord will be a great help now. It will make it a lot easier than the trial and error method that I've been using. : ) Thank you!
@thedankestmemes11162 жыл бұрын
Your videos have inspired me to learn music theory again. Thank you and keep up the good work!
@DavidBennettPiano2 жыл бұрын
Thank you!
@Beastintheomlet2 жыл бұрын
The chord progression to creep is my absolute favorite, that minor plagal cadence just works for me and the deceptive B major is so good.
@AleckHenry5 күн бұрын
"Juts the two of us" also is a great example of the VII7! In the solo section it also has a secondary dominant with a deceptive candance.
@musicappreciate Жыл бұрын
It will take lots of time for some of these historic secondary dominants to sink in. Just thinking I’ve heard them for years but never had a word for them
@mebamme2 жыл бұрын
"Apology Song" by The Decemberists is my favorite example of this - it has lots of (as far as I can tell) major 3 chords leading to a minor 6. And now I know it's called a secondary dominant!
@littlelamb21122 жыл бұрын
Decemberists have never gotten the credit I wish they got. Their albums are a major stamp on my life
@GnuDuuc12 күн бұрын
That Mr Sandman example with the string of secondary dominants in a row, is what we call circle of 5ths motion in barbershop harmony. A circle of 5ths chart is a handy tool for quickly identifying which 7th chord you want to lead you to the desired resolution.
@gbdaeye2 жыл бұрын
Brilliant. thank you. You have presented this in a way I can finally understand. (and retain!)
@anthonypalmer2319 Жыл бұрын
I have to thank you for this wonderful explanation of secondary dominants. It is one of those concepts I never quite grasped when I was younger and would use it in a composition but not realise what it was or the options available. It's so helpful to have musical examples as well. Brilliant!
@insertchannelnamehere6322 жыл бұрын
That's why I always loved that part of bohemian rhapsody
@mikescofield2 жыл бұрын
David, this by far the best explanation of secondary dominants I have seen. Clear, organized, well-paced with excellent graphics and examples. As I beginning composer, I needed this. Thanks very much.
@DavidBennettPiano2 жыл бұрын
Thanks Mike!
@instrumentosfantasticos61892 жыл бұрын
The III7 a is my favorite chord. More 11 songs with its: That's Life, Gita, Gimme Chocolate, Cassino night zone (Sonic), Yesterday, Mr. Blue Sky, Você (Tim Maia), Space Oddity, Maluco Beleza, Dragon Ball Super Opening 1, We are Crystal Gems (Steven Universe)
@ModestForce2 жыл бұрын
I immediately thought of "I Get Around" by the Beach Boys. That song starts with the progression G, E, (secondary dominant), Am, F, D. Another is "Good Lovin'" when it comes to that little pre-chorus. I think it is a II7 V7 I progression.
@haavard92272 жыл бұрын
Matt bellamy videos is the key to my heart bro
@DavidBennettPiano2 жыл бұрын
I’ll bear that in mind 😃😃
@haavard92272 жыл бұрын
@@DavidBennettPiano i'd love a video on take a bow tbh if it's not too much to ask
@DavidBennettPiano2 жыл бұрын
@@haavard9227 I’ll have a look and see what I can do 🙂
@haavard92272 жыл бұрын
@@DavidBennettPiano that’s awesome, love your videos ❤️
@obviously6thbeliever Жыл бұрын
I learned this playing "Honkey Tonk Women" ---"upstairs for a . . ."---and now I know why. I totally enjoy music theory and know every day why my first guitar teacher stressed it so, even though I didn't learn a single song from him. This progression is a staple of country music and folk. As Jesse Pinkman might have said, "yeah THEORY!"
@image30p2 жыл бұрын
Thank you very much for this video. I'm a little on the older side and I really depend on music to keep me going. An excellent lesson!
@nunezkant2 жыл бұрын
Your channel is gold. Thank you for your work.
@DeGuerre2 жыл бұрын
9:15 Ah, yes, "Has Anybody Seen My Gal?" I know this sequence as the ukulele vamp, because of its ubiquity in ukulele music. George Formby's "When I'm Cleaning Windows", for example, is in G major and uses: G -> B7 -> E7 -> A7 -> D -> D7 -> G.
@valiantdiesel13322 жыл бұрын
I've been absent-mindedly doing this in little compositions, especially the I to I⁷ to IV progression. Awesome to know the technicalities behind it
@nomorebushz2 жыл бұрын
Listen to the coda break in the Rolling Stones song “shattered“. It breaks from the verse going to C sharp minor 7 to E7 to A7 to D7 to G7 to C7, to groove in A. Circle of 5ths. Mozart did it endlessly so did Beethoven. My dad taught harmony at Yale as a student for Paul Hindemith classes. The only thing he taught me after I already took myself although when I picked up the guitar he said learn your five 7th chords. M7 - m7 - dom7 - 1/2 dim7 - dim 7. Now I can read jazz charts. Everything is simply an extension or an alteration from the seventh. Learn what you can and can’t do with a minor seventh chord and learn what you can and can’t do with a dominant seventh chord,
@davidjjharding2 жыл бұрын
These videos are pieces of art in a similar way to music. In that, he uses 'progressions' from lots of artists, then resolves back to the 'base note' examples from radiohead or beatles. As a side note I'd love to see some of justin Currie's work used in the progressions section. Keep these excellent videos coming. They are entertaining and have inspired me to pick up my guitar again. Thank you.
@neilingle7947 ай бұрын
I was brought to this video today from your other Secondary Dominant video, and once again, you've explained things so well - before now, I thought the SD was the III7 chord - now I know there are loads of SDs, and all easily identifiable in popular music! It's particularly interesting how different SDs have fallen into and out of favour (e.g. you mention the SD VI7 resolving to the II found more in pre-1990's music). Lastly, your example of Creep threw me, as I thought I HAD to resolve to the perfect fifth root. Food for thought and experimentation, thank you!
@amitioJ2 жыл бұрын
How could you not use 'Your mother should know' by the beatles, has so many including a chain of them! 😁
@henryporvaznik92882 жыл бұрын
Thank you so much David. It explains why the early 60's girl group songs are so catchy. In addition to what you've said, it also explains what makes a "pop" tune actually POP !! (been playing bass for 15 years)
@coloaten66822 жыл бұрын
Such a great explanation of secondary dominants! I knew what they were but not how they have such a wide range of potential uses! It's got me realising that you can construct so many chord progressions by using this technique along with say substituting a M for a m chord, or vice versa. It's almost as if it's possible to come up with any chord progression because there is always a way to get there, by inserting 1 or 2 chords as a 'stepping-stone.' This has unlocked a ton of possibilities in my own song writing, which I'm new to. Thanks David! :)
@DavidBennettPiano2 жыл бұрын
I’m really glad that you found it useful! Thanks!
@paulianhodgson Жыл бұрын
Cool to hear Bright Eyes as a reference, one of my favourite bands.
@luciofranco63132 жыл бұрын
David you should check out Fito Páez's music, he's an amazing argentinian songwriter loved all around Latin America and Spain. I bring him up because he uses secondary dominants quite frequently and in beautiful ways. Great video as always!
@damndanim2 жыл бұрын
Yesssss, and also so many folclore songs from Argentina use this progression
@alicebagli2 жыл бұрын
Saw Billie Eilish and Matt Bellamy (and John Lennon, and Freddie, and oh my goodness is this a crossover episode?) and instantly clicked - _of course_ . Great video as always btw! I don't know why but I'm quite fond of this types of chord progression; I just didn't know the music theory behind them, predictably. How you make all this stuff so understandable is still a mistery to me, but still ahahah
@pillmuncher672 жыл бұрын
In Honky Tonk and Western Swing, well, old-timey Swing in general, there are even tertiary and quaternary dominant chords. "Hey Good Lookin'" by Hank Williams has only three chords: 1, 2⁷ and 5⁷. "It's All Your Fault" by Cindy Walker has: 1, 6⁷, 2⁷, 5⁷ and in the refrain even sports a 5⁷ of 4, that is 1⁷. Back-cycling is awesome.
@singerofsongs4682 жыл бұрын
This is one of those things that I could identify upon hearing it in a song as “a cool and interesting chord change I’ve heard before,” but I don’t think I’d be able to connect it to the other songs I’ve heard it in. This has been really cool to watch! Cheers :)
@incognitiosaystransrights2 жыл бұрын
Could you do a video on tritone substitution?
@DavidBennettPiano2 жыл бұрын
Good idea! 😃
@dugl2 жыл бұрын
Not long ago I discovered Beatles and this video introduced "All you need is love" to me, that is playing on repeat in my headphones. Thanks :). Also would be awesome if you'll use more Queen songs, and not just bohemian rhapsody. Almost in every video where you tell about certain moves in music I have 2 or 3 Queen songs that have these moves. Thanks for your videos, I like your approach to explaining and showing graphics on screen
@Spinz9910 ай бұрын
You can cycle through all the keys using dominant fifths in Jazz. You just keep moving to the fifth of every fifth chord for each key. The Gershwin example seems to illustrate some of this.
@kiri1012 жыл бұрын
This video helped a lot, and I'm glad you included a 'chain of secondary dominants song' so I could really get a feel for it.
@dangorose5 ай бұрын
Such a great teacher. Well done.
@matthiasreccius18982 жыл бұрын
David, your channel is literally the one music-related thing I have been waiting to find for about 10 years! Not joking! Awesome content. Keep up the great work!
@EarlOfMaladyCrescent2 жыл бұрын
Great video! "Wombling Merry Christmas" has a beautiful chord pattern in the chorus. Chord VI resolves on to chord II twice, but the first time it's minor & the second time it's a secondary dominant. The key is A major: D, D, A, F#m, Bm, E, D A, E, D, D, A, F#7, Bm, E, D A/C#, Bm A.
@sfisher9232 жыл бұрын
Not sure if that a good or a bad thing but the "Big Girls Don't Cry" almost didn't sound like a cover for Demonization
@oblivionpro692 жыл бұрын
“Demonization” probably isn’t the word you meant but it somehow perfectly describes what KZfaq does to these creators, haha good job
@specialkalberta2 жыл бұрын
David's videos are always so interesting and erudite without being pretentious / pedantic etc. Way to go. For an example I'll choose the same chords as "All You Need is Love" (1:16). In "Song for a Winter's Night" by Gordon Lightfoot (key of G), the end of the verse normally goes from G chord ("on this") to D chord ("winter's night with") back to G ("you"). But on the last verse instead it goes from G chord ("and to be") to D chord ("once again with") but then to B7 Em (you ___) giving that "All You *Need* ..." kind of lift before repeating the resolving G-D-G pattern at the very end ("and to be once again with you").
@andinomm2 жыл бұрын
Secondary dominants are a really clever trick. There is a tutorial on yt on how to write jazzy progressions and all he does is put a secondary dominant between chords. One of my favs Mac Ayres uses them a lot.
@harryblue95022 жыл бұрын
I've learned more USEFUL music 🎶 theory from these videos than I ever did doing my A level academic course. These are clear concise fun lessons which have an immediate practical use ...thank you !!
@badgasaurus42112 жыл бұрын
Oasis has a lot of songs with deceptive cadences in them. The bridge of Stand By Me has the progression IV - V - I - vi - II7 - IV - V in the key of G and the song the Girl in the Dirty resolves a IV7 to a I in the verse sections and a III7 to a I in the lead into the chorus (also in the key of G major) The middle 8 type section of section also resolves a VI chord to the I chord in the key of G major.
@123456789gj8898 Жыл бұрын
You really just used a simple way to explain how certain songs sound so good due to Secondary Dominants. CHEERS DAVID!! 👌
@isaiahneilguitaristofficia5492 жыл бұрын
Just a little neat detail about going from the V7 to the 1 chord why it sounds a little “better” then just playing 5 to 1 is when you play a V7 to a 1 you get contrary motion, say D7 to G …. D,F#,A,C to G,B,D the F# in the D7 goes up to G, while the C in the D7 goes down to B…That you don’t get in a V to 1 you just get the every note resolving up the D stays the same in both chords except it’s now the 5th of G, and A goes up to B and F# goes up to G…with the D7 you get D changes from root to Fifth, F# from third to Root up to G, A down to G 5th to root, and C b7 down to third B of G.
@gianluigiciambriello79992 жыл бұрын
In classical harmonic resolutions, the ii7 is not used as a secondary dominant but as a part of a simple chord succession that brings again to I. So it's like I-ii7-V7-I, often using IV instead of II as it's further from I and closer to V. But ii7 in classical music MUST resolve to V, which leads obviously to I or to a deceptive cadence. After all, secondary dominants are just raised or lowered chords of an harmonized scale which are useful for modulations, even better if they've got a seven in it, or for short passages in other tonalities before returning on the root chord.
@skygrass192 жыл бұрын
When I saw Billie Eilish, The Muse, Beatles, and Queen, I knew this was it!! THIS IS EXACTLY WHAT IM LOOKING FOR. I never had any music in depth training but I know I have ears for this. Now I can sleep peacefully, I know what it’s called now 😂😂😂
@urbinamdm2 жыл бұрын
These lectures are gems... A new genre of learning... Many thanks!
@DavidBennettPiano2 жыл бұрын
Thank you!
@madisonmason73102 жыл бұрын
Thanks so much. My music theory teacher highly overcomplicates things. Very simple concept that I now understand so much better.
@icannotchoose10 ай бұрын
8:33 I don't even know what you're going to say next but this immediately shot me back to steven universe's "Stronger than you".
@Bongz.142 жыл бұрын
I love your videos David!! I learn a lot from you. Thanks 🙌🏽
@Bongz.142 жыл бұрын
@@madisntit6547 thanks for the correction 😅
@ZigbertD2 жыл бұрын
Great content man, seriously. I've been playing guitar and writing songs for over 40 years, and as you note towards the end of the video, like many less formally trained musicians I've known and used this kind of chord progression many times without knowing the theory behind it. As the Bob Dylan song illustrates, it's very common in country/delta blues songs, with which I'm quite familiar. But now, knowing and understanding more about the actual "mechanics" of the theory, I can see how it might be applied in totally different contexts, in totally different kinds of progressions. I immediately recognized the sound of the VII7 to the the iii chord. I thought instantly of Bill Withers' "Just The Two of Us" so I looked up the chords and yep, Cmaj7 -B7-Em7. But I would have never understood how to apply that to my own compositions before, so this video is INCREDIBLY useful. This isn't the first really great video of yours I've seen, but I really had to comment on this one, thanks so much for helping with my lifelong musical education.
@ThornySubject2 жыл бұрын
If I'm understanding this correctly, I believe the classic 70's balled 'We're all alone' (Rita Coolidge's version is my favourite!) uses a lot of secondary dominants.
@musicappreciate Жыл бұрын
I believe the only chord in John Denvers “Take me Home, Country Roads“ that’s different is a secondary dominant. Verse 3
@carlosavelar46522 жыл бұрын
It was interesting to see a couple fellow classmates hella struggle to listen to secondary dominants on an aural skills exam. It was easier to just show them what songs they know have them and it automatically links in their ears now
@mason871042 жыл бұрын
Great video, I appreciated the confirmation that the flat-7 doesnt have to be in the chord, and the resolution doesnt actually have to happen. Another example is Stray Cat Strut: Cm, Bb, Ab, G7 (vi, V, IV, III) so G is the secondary dominant here.
@gwalla2 жыл бұрын
Why wouldn't you analyze that as i-bVII-bVI-V7 in minor? It's just the Andalusian cadence, isn't it?
@mason871042 жыл бұрын
@@gwalla I hadnt heard that name before, thanks. I see wiki has an interesting page on that.
@youkenez2 жыл бұрын
My favourite example is the last part of Pink Floyd's "Saucerful of Secrets" - there are 3 resolutions in row. The song is in Bm and at one point there's this ascending chord progression of D -> G, E -> A, F# -> Bm which is III -> VI, IV -> VII, V -> I, (the last one is of course resolving from the primary dominant).
@laurelcello Жыл бұрын
oh my god THANK YOU this video just saved my theory hw assignment lmaoo