A one-of-a-kind site ??? That's like saying the ocean is moist ! Zombie Guitar is by far the clearest most informative website that I have ever had the enjoyment of learning from. I've learned more from this website that I've learned in the past 40+ years that I've been playing music !!! ~ Michael C #1 Zombie fan !!!

@@michaelsmusic3532 no I’m the number one fan 😎🤪

@@lukather1 😆 goofball ... !!! Guess that's what he gets with a bunch of fukkin Zombies walk in "round 🎸

@@michaelsmusic3532 play like a zombie may as well act like one ☝️

Im trying to improve my piano chord progressions and you really helped make a lot of confusing approaches to developing chord progressions very clear.. Your awesome.. Song writers can learn a lot from your videos, not just guitarist imho.!! Sub!!! and thank you!

Don’t beat yourself up bro. Learn at ur pace, and concentrate on making music at the best of your ability at every level you’re at.👌🏾✊🏾JUST DONT STOP LEARNING

Not only the best on youtube ... He's the best instructor on the whole freakin' internet !!!

krista96 hey thanks for the comment, I really appreciate that! I'm trying to spread the word about my website where you can find all of my lesson videos for free in a nicely organized manner - www.zombieguitar.com. Definitely check it out if you get a chance, and thanks for watching!

Under every videon on youtube, that teaches smth, there always ONE comment sayin that it seen 1000000 videos but THIS particualar video is THE BEST ever

Brian Kelly Brian, thanks so much for all your free lessons. You deserve more views. I refer anyone interested in music/guitar to your KZfaq channel. I hope teaching music pays off huge for you. You really deserve it! Thanks so much again!

Brian ... Every chance I get I point everyone in the direction of your website, youtube vids, and facebook group in hopes that you get more subscriptions and paying customers. It's the least that I can for all the hard work that you've put in with everything and all the help that you continue to be with my theory studies. You are appreciated bro, multiple gratitude ... Rock on !!!

@@krutoyinfo I've seen 10000000 videos and this one is the BEST ever !!! { seriously }

No problem...glad to help!

Hey thanks for the comment! Glad you found it helpful!

You're welcome!

That's awesome man! Thanks for checkin out my channel!

Hey thanks a lot! I really appreciate the words!

Kirk Kilat no problem. Thanks for watching!

yes thank you

That's awesome! Glad to hear you are finding these vids helpful 😎

Hey glad you are liking the vids. Thanks for following 😁🤘

Mehboob Yaqoob no problem. Thanks for watching!

Jawshua haha Lots more to come. All lessons regarding chords/chord progressions can found here on this page: www.zombieguitar.com/the-chords-and-chord-progressions-page/. I will be adding several more to this page over the next month!

Joseph D'Alessandro Any specific topics you want me make a lesson on?

Hey check out my 3-part modes series. It will help explain everything about modes: www.zombieguitar.com/how-to-solo-across-the-fretboard-using-modes/

Adiaf8oros ya others have told me that before. Unfortunately my ear doesn't pick up the out of tune guitar...this problem also annoys my band to no end as well!

Yup it does!

They are simply "outside chords" that you can use in a song. Say you're writing a song in the key of C major/A minor...you have 7 chords in the key. Well, with secondary dominants you now have 5 additional chords to play with. That's it! I did a more recent lesson on this topic too if you want to check that out: kzfaq.info/get/bejne/brySntdqv6jbo6c.htmlsi=taJmSvr0jVSXoaxq

🤣🤣🤣

If you saw a chord symbol that said "C/F", then yes that would mean "C major with an F in the bass" 😎

Okay then thanks then. Thanks for the lesson. I could never understand why the beatles went to C7 all the time before F, now I know. Also I never understood E7 before Am and now I know. I always thought it was a melodic /harmonic minor deal. But now I realise it is a transient resolution so to speak. Loving your lessons Brian (but sometimes I feel you are too rudimentary and slow in ramping up to the main point eg you give too many examples of what would be fifth or how to find it on the guitat 🙂 if you don’t mind me saying .)

@@rohitrathi4552 That's why I always recommend watching the lessons from my website instead of KZfaq. I always post a duplicate lesson on the site, which has the timestamps underneath the video along with a full written version which includes all the charts and diagrams that were used in the video. I always post a link to the "website version" in the description. Also, this video is a bit older. I've been improving at "getting to the point quicker" in my newer videos. Some of my older videos make me cringe at how long and drawn out they are 😎.

Brian Kelly thanks. No you’re good because you are patient and you demystifying musical theory by using simple language.

Genny Trickett let me know if there's anything that you don't understand, and I will try to clear it up for you.

doublek321 Hey thanks for watching and commenting! To answer #1...Yes, dominant chords can resolve to both major and minor chords. As for #2, this Wikipedia article explains it much better then I could in a YT comment: en.m.wikipedia.org/wiki/Dominant_seventh_chord

Cool thanks! I checked that wikipedia link you sent and it was also useful! Let me try to explain in case others had the same question (though first a disclaimer that I'm definitely not any kind of musical expert): The G7 contains notes GBDF. As already discussed in my initial comment, the B (which is the major 3rd of the G) is the "leading tone" to C. A "leading tone" means it "pulls upward" to the next highest semitone (in this case, from B to C). What I didn't realize is that there's also the concept of an "upper leading tone" that "pulls downward" the next lowest semitone. In this case, the G7 contains the note F, which pulls downward to E. The note E is the major 3rd of C. So basically the G7 contains 2 notes (B and F) that "pull" toward the root and major 3rd of C. That explains why it resolves so strongly to C.

doublek321 exactly!

doublek321 Hey, man. I totally get the gist of what you are saying and agree with it except for your use of the term "leading tone". Now, admittedly I am only 1 year in to guitar and music theory as well as being self taught and am only bringing this up in a spirit of open and amiable discussion. My understanding is that the term "leading tone" (aka "subtonic") is exclusively reserved for the 7th or most "active" degree of the major scale because its marked tendency to resolve up a half-step to the tonic (or octave). No other degree is as "active", hence the moniker "leading tone". Now, since the G7 (dominant V) chord contains the (Cmaj) scale's leading tone, it is the most "active" of the three primary chords(or triads). So, yes, the 7 of the C maj scale being B, the G7/V chord (because of its B) will seek to resolve to the C/I chord. Also, it's root (G) being the fifth of the I (C) chord, there is an unmistakable affinity between the two because of this. That said, the 4th -also "active" - degree (or "subdominant") tends to resolve down a half-step to 3 ( a "rest" tone) rather than up to 5 a whole step away. Also, you are more likely to encounter a movement from I to IV than from IV to I because in this case though it is true the IV chord's root (F) is a fifth away from the tonic (C) said root (F) is not contained in the I (or "tonic") chord, hence its apparent "distance" from the I. Anyway, hope you dig my little contribution to the exchange.

Since you are into this kind of stuff, here is another tidbit you might enjoy. You already know that the primary triads are the basic structural units of harmony and you may also know that movement from one of these primary triads to another is regarded as a strong or fundamental harmonic progression. You may not know that another way to achieve a strong (not in the sense of better) progression is via a root progression of a fourth or a fifth. That is why substituting the II for the IV or the VI for the I or even the III for the I or V are considered harmonically weak (not in the sense of worse) progressions because the roots of these chords are a third apart (as opposed to a fourth or a fifth apart). This third-relationship exists both above and below any of the primary triads. As an aside, when substituting for a primary triad, you may want to favor a voicing that double its chord-third as this helps to establish its function as a substitute. Finally, the usual progression is from strong or basic primary triad to the weaker substitute chord as it suggests forward motion, the root of the substitute chord being heard as a fresh, new sound in the forward progression; Also, the basis for considering chords as substitutes is that they share two common tones with the substituted chords: see, for example, I to VI, IV to II, V to III...A great book to get is E.B. Kohs, Music Theory, vol.I.

Well if the iii chord moves to the IV chord, than it wouldn't be functioning as a "dominant chord". If it was a major III chord, you could just label it as a "borrowed chord"!

Hey thanks for watching. It would be an E7 though, because dominant chords are 7th chords, and also not actually part of the key (non-diatonic). Em7 is actually part of this key (the iii chord).

Dominant chords can resolve to either major chords or minor chords 😁

Good question! Yes there is a G# in the E7 chord, and no there is no 'G#' in the key of G major. That is why the E7 is a SECONDARY dominant... because it is an out-of-key chord!! The G# is just the 3rd of the E7 chord: E7: E G# B D The 7th of the E7 chord is the note 'D'. Hope that helps elaborate!

Hmm okay. :) I still don't understand why it gets to be sharped though. How would I know if I wasn't told. Is there some formula of building the E7 chords like you would with other chords. I mean the E chord has a G# is that what we base it on? this is probably annoying to you but it is driving me a little nuts @@zombieguitar

@@kingloser4198 the thing is that it doesn't "get sharpened"... An E7 chord is simply E G# B D. The chord formula for a "dominant 7th" chord is: 1 - 3 - 5 - b7 This "out of key" E7 chord was placed right before the "in key" Am chord in your example, because that's how secondary dominants work... Secondary dominants are simply "dominant 7th chords" that are built off the root note that is a 5th above the chord you are trying to resolve to. If I had to guess, I'd say that you're not fully clear on the rules of chord construction. Try this video: kzfaq.info/get/bejne/bJphmLp-17K9dXk.htmlsi=Lf7I_KKad10serZQ