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I think the tension really built through this video over the lack of Radiohead references and then resolved at the very end.

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.

V/ii. That’s it. That’s the “old-fashioned” sound I hear. That’s what it is. Amazing.

David teaching kindergarten maths: "So, as you can see, one and one and one is three - for example, in this song by The Beatles..."

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."

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.

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.

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.

Ridiculously good teaching....I want to dominate these dominants muhaha

"Life On Mars?" by David Bowie has lots of secondary dominants.

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.

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.

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.

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.

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👍

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

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

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!

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.

Mr. Blue Sky - Jeff Lynn / ELO love that song and if I heard it right. It uses a couple of secondary dominants.

This video is filled with Beatles examples and I’m *not* complaining!

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.

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.

Saw Matt Bellamy and John Lennon and clicked so fast

Another excellent video. You are a brilliant teacher,David, thank you.

Fun lesson, David. Secondary dominants sure play a big role in popular music. I like to think of them as stepping stones!😊

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.

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!

Best explanation of 2ndary Dominants around!

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.)

Nobody Knows You (When You're Down & Out) uses several secondary dominant movements. Thanks for explaining why this is such a totally satisfying progression.

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!

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!

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.

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!

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.

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!

Wow, I always thought that secondary dominants resolved by a 5th. I'm off to start working on some 'new' chord progressions.

Really like the way that you show the difference between the altered and unaltered versions of the chord progressions

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!

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!

Another two great examples of a chain of secondary dominants are “Killing Me Softly” and “I Will Survive”.

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!

Your videos have inspired me to learn music theory again. Thank you and keep up the good work!

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.

"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.

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

"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!

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.

Brilliant. thank you. You have presented this in a way I can finally understand. (and retain!)

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!

That's why I always loved that part of bohemian rhapsody

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.

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)

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.

Matt bellamy videos is the key to my heart bro

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!"

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!

Your channel is gold. Thank you for your work.

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.

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

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,

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.

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!

How could you not use 'Your mother should know' by the beatles, has so many including a chain of them! 😁

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)

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! :)

Cool to hear Bright Eyes as a reference, one of my favourite bands.

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!

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

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.

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 :)

Could you do a video on tritone substitution?

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

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.

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.

Such a great teacher. Well done.

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!

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.

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

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").

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.

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 !!

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.

You really just used a simple way to explain how certain songs sound so good due to Secondary Dominants. CHEERS DAVID!! 👌

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.

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.

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 😂😂😂

These lectures are gems... A new genre of learning... Many thanks!

Thanks so much. My music theory teacher highly overcomplicates things. Very simple concept that I now understand so much better.

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".

I love your videos David!! I learn a lot from you. Thanks 🙌🏽

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.

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.

I believe the only chord in John Denvers “Take me Home, Country Roads“ that’s different is a secondary dominant. Verse 3

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

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.

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).

oh my god THANK YOU this video just saved my theory hw assignment lmaoo