For even more spice, instead of a secondary dominant try a secondary leading tone, as in the diminished vii chord of the target chord. Or for extra fun, instead of playing the V7 of your target chord, play the bII7.
Secondary dominants are so powerful! As of late, I’m finding chord progressions that I enjoy by focusing on the voice leading, specifically around the highest note - make sure there’s a satisfying melody there. Thanks for the great tips as always Andrew
And about a hundred other hits. It's a 12 letter alphebet that can only spell different variations of 7 words. Even taking into account those 7 words can be interpreted in a bunch of different ways, depending on how and the order you say them...its pretty much all been said before in one way or another. Its all about the song, whatever chords u play or how u choose to play them.
@@somes3cretcatwhatever chord your gonna use like a c chord for example do just look up like “major 9 c chord” or minor or whatever you know what I mean?
Interesting Man Good to pick up this tip. You know i was thinking idk i just got this thought thinking about chord progressions and it be nice if to see a video on what it is called when the progression changes a for example if the the whole song had a similar pattern what would it be called when the last chord doesn’t match with how it was in the beginning. my bad 😅 kinda hard to explain on a comment.
Believe it or not it’s all really simple once you figure it out. Look up relative major/minor and look up secondary Dominant. Paul David’s does a really good job explaining both so that anyone could understand
FACTS. You can also extend to 9,11 or 13 for more exotic flavs and change the modality of some Chords from major to minor. Like switching that C to C minor. Boom.
self taught musicians watching this video are literally crying because we DEFINITELY understand and DEFINITELY will put in the effort to understand edit: i understand music theory now but i remember when it seemed like impossible math, keep dropping info in the comments, it may help another human
i am self taught and u can understand!! i have found studying theory to be really fun and amazing. the first tip i need to study more i think its a chord substitution? the second tip is what i always try to do, ive been trying to create extemded chords eith amazing unique flavor and for thd 3rd tip secondary dominants and tonicization ard all very useful. learning the intervals from the roots of ur chords will make this techniwue possible!! tonicization is when u preceed a chord with a chord a perfect fourth below it so lets say im going from C to G or I to V in this case im starting on C and my target note is G. rather than going from c to g normally i can play the perfect fourth down/below (5half stels doen) a G which is a D. so i would go from C to D to G. Moreover, with secondary dominants it is the same principle. Lets say we start on F F major and i want to go to the second chord Gm. i am going from a F to a G as my target now we do our secondary dominant, the major2nd of G is or our ii chord id Am and the perfect fifth or our V of G is D. I eould do a ii V I with I being G. I am essentially treatinf G as a tonic, I started at G as my target not and now before llaying G i can gk to a Am D7 and then to a G. this is the ii V I commonly used in jazz, secondary dominants id just playing thr major second and perfect fifth of the chird u want to play before resolving tk that targrt chord. U do not need thr major 2nd and can simply do the perfect fifth to the unison like it is done here, so a V I progression. If i wanr to target Am the perfect fifth of A is E so i can go from a E7 to a Am. If u norixe this is kind of similair to tonicization, as eith toninicizstion u play a perfrct fourth doen and with secondary dominants its a perfect fifth up. it so happens a perfect fourth doen is also a perfect fifth up. so when u do a V I u are also doing a perfect fourth down to a I. secondary dominants are great!!
@Timothy Warner. Secondary dominants made a lot of theory click for me. Try getting used to that cadence of V7 going to I. (For C it's G7, G is D7, etc). You're basically exploiting how "complete" that dominant resolution sounds but for chords that aren't the 1 chord in the key. Using the example from this video instead of going Gmaj7 Cmaj7 Bm7 Cmaj7 you throw in a F#7 leading to Bm7. F#7 isn't in the key of G (G A B C D E F#) because the 3rd in F#7 is a Bb [technically I think it's an A# but they sound the same on a guitar]. Try to hear that same V7 to I resolution but going to the Bm7. Since they're not directly from the parent key, secondary dominants can be quite dissonant outside of the V7 to I sound so use them sparingly.
Good information, but the mirror image is disconcerting (when I see so many other videos of @andrewhuang playing right handed (and with t-shirts that are readable)).
Can someone elaborate a bit more on the dominant chord thing he is talking about. I know he is adding a passing chord but what was he talking it being a 5th away or something? How would I know how to make a chord dominant
Anyone else noticed that he Weezer'd us in the beginning? (Undone - The Sweater Song is played in D# Standard with the G-C-D-C chord progression | But he played it in E Standard)
That chord progression is used for many rock/pop songs.. one of the most famous is Wild Thing ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-gSWInYFVksg.html But he is playing it in G as he says. He plays the chords G C D he's not playing it in E (No idea what you mean by 'standard' it's not a musical term) Here's another famous song using the I - IV - V progression ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-rf8GjhXvOjU.html
Unless major and minor chord progressions (with no additional notes outside the root, 3rd and 5th) are played in an R&B style with chord fragments, double stops, 6ths, like high E string 6 fret, and G 5th fret or stacked on same fret skipping a string that is muted or not struck, or using sliding octaves ala Wes Montgomery and George Benson and other melodic embellishments using major or minor pentatonics can make simple triad based chords sound cool Otherwise any intermediate or more advanced player must know how to harmonize the major scale, and know how the chords work in each position (ie modal diatonic chord progressions). More importantly, real expensive playing requires at the very least the intelligent use of 7 chords which include the 9,11 and 13 extensions. First learn to harmonize the major scale using the triads plus the major, minor of dominant 7 and have diminished versions of the 7 diatonic chords. The chord and order does not change as he your ton as l center is not the root of the key signature. Only the order of the harmonized chords of a base scale whether Western Major, Melodic or Harmonic minor the notes are the same but the role of each note changes. If the song is in the key of C with a tonal center of D you are in the Dorian mode. What's changed is but the nits or scale across the neck. All that has changed is the root is now D show be mindful of have a new home base and play accordingly. The second chord of the major scale when harmonized is minor so the progression is minor.. to make it more colorful experiment with 7 chords but follow you ear. Progressions are often a mixture of traditional major minor triads and 7 chords. In Jazz you are almost always playing 7ths and usually dispensing with the 5 unless the 5 is sharp or flat but when you start getting into training the more sophisticated chord progressions many of the extended chords with flated or sharped 5s and 9s for example, short horrible outside the context of the progression but we within context they are beautiful. Music is a very expressive language and like a great speaker a rich vocabulary enhances the communication. However,we all know morons who use words incorrectly and it's an embarrassing disaster. The rule of thumb is use vocabulary to tighten up the message and not to lose your audience. Simple is best but simplistic makes you sound immature. Therefore, strive to learn how to use expressive chords with destroying the flow. If you devote your time to playing power chords exclusively then timing, tone and single note shredding using memorized shapes is what you will play. That is fine for 30 seconds but people lose interest. Players like Vai, Van Halen. Eric Johnson play very cool chords and the chumps at guitar center play all the simplistic shit while learning to play shapes fast. All great players can burn but do so when required. Be a musician and bkt a guitar meathead.
This is my favorite kinda content. I'd love to give you some encouragement to make more little quick actionable tricks for making music! I know there's plenty of other youtubers doing that sorta stuff, but there's only one Andrew Huang! And I like your approach to music and your communication about it.
you can also use sus4 chords to give anticipation to the next part, its most effective when used on the 5th as 5 sus4 contains the 1st note of the key example would be like: III IV #VI Vsus4 V i in the key of c minor: Eb F A Gsus4 G Cminor
Your over using of the word “wholesome” is nauseating 😂 every freaking comment section there’s a Wholesome comment on damn near every video it’s gone too far
