Jazz Harmony Basics Made Simple - Secondary Dominant Chords
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- čas přidán 31. 07. 2024
- Lesson Material and Tab Here: www.talkingbass.net/jazz-harm...
This week we’re going to take a look at some basic aspects of jazz harmony in the shape of Secondary Dominant Chords.
Here are some extra lessons you might want to watch before moving into secondary dominants:
Triad Chord Construction: www.talkingbass.net/triad-arp...
Seventh Chords: www.talkingbass.net/music-the...
Chords In A Major Key: www.talkingbass.net/music-the...
Bass Chords: www.talkingbass.net/an-introd...
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Would you consider making a Vulfpeck lesson, including some tips on how Joe Dart makes his lines?
This has made so many pennies drop! Great video Mark thanks!
I've stumbled my way through jazz charts for years without understanding why all these 7th chords (plus extensions and alterations) existed instead of what is "diatonically correct". I figured its cause they sound good. Now i know it's about tension and resolution. Thanks!
That A7 hit me harder than I thought it would. I love these videos. Thank you so much! You're doing so much for me, I am so grateful.
Another incredible video Mark - I've been binge watching your videos while in quarantine, starting with intervals and your entire music theory section. Your style of teaching is so simple and clear and you've made a real difference in my musicianship. Thank you for this amazing content!!!!
Great video. I am doing a piano video on Donna Lee Standard in Ab..I never did understand why an F7 would be in it. Very good teaching . I play a bass..but slap bass is not my forte.
Thank you very much Mark. You are an example for everyone who considers himself a teacher. Not just music teachers.
Mark, your passion, energy, and enthusiasm are truly inspirational! Your videos have made me a better bassist more than you can imagine! The uncluttered background and your direct, detailed explanations give vibrancy to your lessons. In my mind, your videos are unparalleled.
Very easy and clear explanation. Well done!
Cool lesson. You're explanation is very clear. Thanks 🎸
Great stuff!
Excellent lesson. In minor keys, I often see the dominant 7th on 5 (instead of the minor 7th) leading to the minor 1 chord. E.g. E dom 7th to A minor 7th. I always thought of that raised 3rd as the leading tone in the harmonic minor scale. But I see now, actually, it's a secondary dominant 7th.
No it's not. You were right the first time. That major chord on chord 5 in a minor key is the harmonic minor in action.
At 0:30 I was like: ok bye!
But I shall return one day Mark, I shall return!
Pls can u make tutorial on how to play the 12 major scale and minor scale on guitar?
Awesome and Thought out lesson indeed! Really fundamental for learning Jazz Harmonies and beyond!
interesting lesson Mark, I"m now thinking how I can slip this in while gigging (oh, i'm in a country band here in Arizona), this should be fun....
Great stuff! I'm working through the chord tones course and it is excellent! After that I want to start dipping into harmony. What talkingbass course would you suggest for me to look into?
Great lesson!
👍👍👍🎸🎸🎸👏👏👏...obrigado
Great easily understandable lesson on a topic that scares a lot of music theory and jazz students. You did forget to point out the most important part though...the secondary dominant face, which you executed perfectly! 😉
Woah! Just checked out your instagram.. You met Bill Burr! Nice! Also, great lesson, as always - thanks!
Yup. Met him at the Royal Albert Hall, It was my 43rd birthday and his 50th.
@@talkingbasslessons Did you pay to meet him or was it a chance encounter? Did you talk music? :) Maybe he could do some drums for you.
@@kingloser4198 Chance encounter outside the venue. Didn't get to talk much coz he was on his way to meet Nia but I'd LOVE to get to jam with him!
That A7 was hard..
Anybody know what bass is that??
Why is it called a secondary dominant instead of a secondary tonic… If the change is to a I chord.
There’s no change of the one chord. The secondary dominant implies dominant function. It doesn’t have to resolve. The primary dominant chord doesn’t have to resolve to 1. The secondary dominant is actually just creating flavour. It’s not really creating a temporary 1.