Added: 3 years ago
From: bassicprincipal
Views: 18,902
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  • Thank you, Sir! 5 stars.. God Bless Indeed!

  • very clear please do theorize

  • Please-Create yourself a cd tutorial-you have the Goods!!

  • Comment removed

  • Your teaching method is so simple & great ! thank you.It makes sense now when the information is delivered the way you do it.i would like to see a tutorial for methods of songwriting., what are the most practical and succesful methods of finding your notes.Sending you all by best wishes !

  • Wow man this was great! Please keep posting!

  • Fantastic ! At last someone who made me understand what a secondary dominant is, and how it is used. God bless

  • good stuff man, very clear and simple way of explaining. Anyone can overcomplicate things, it takes someone with real mastery to make it seem simple. thank you

  • Thank you!

  • I know how to play it but Now I know what Im playing Thankyou

  • Truly a godsend...

  • You have a great gift in not only performance, but instruction as well! Thank you!

  • thankyou! awesome stuff

  • Wow that makes it way less complicated than I was making it and I am in Music College. Do something on Modulation :)

  • Hi Milton, Hats off to u....I am from Bangladesh and an uneducated music composer. Will appreciate if you please help me to teach from Lesson 1 to end....I dont find your Lesson 5 after finishing this Video. My Skype - ezbdgroup. Convey my Love to your family :-)

  • even if your DVD's gonna cost me 100 bucks i would buy it for sure!

  • Thank you so much, this helped me a great deal.

  • WHAT YOU SAY!!! WE HAVE ANOTHER RUFFIN BEAST N KEYS!!!!! HOW ARE YOU FAMILY!!!!

  • SUPER 

  • This is really Helpful God Bless you...

  • Comment removed

  • it's not smart to think of "changing" the tonic temporarily.. it could even be considered "wrong" since you change the tonal centre repeatedly.

    insted think of the secondary dominant as a very short ADDITIONAL sound to the current tonal centre, but the tonal centre does NOT change. so the "new" notes are better seen as alterations or new chromatic material for the old tonal centre.

    example would be the turnaround: Imaj7 - VI7b9 - iimin7 - V7

    the VI7 chord does NOT change to the tonic D..listen

  • If you want to do the secondary dominant of any chord in a key just drop the seventh of the 5th chord above the secondary tonic by a half a step.

  • Thank you, thank you so much - I am starting on a journey of jazz theory and improv. You're lessons are a blessing and a bridge to understanding harmony.

  • dude your a legend, i've been trying to get my head around this for an exam on tuesday

  • thank you so much!!

  • So baked.

  • lol

  • Nice.

  • Thank you so much for this video. I am studying secondary dominants in Theory III, and this is exactly what I needed.

    I appreciate your work!

  • Thank you sincerely. I was a little puzzled about this element in my Harmony class. -Kindest Regards

  • you are the best teacher. i love your relaxed approach.

  • Thank you so much, this was so helpful!!

  • Thank you so much, this we so helpful!!

  • Through you I realize again God is awsome thank you it just what I needed

  • please continue to do gods work bec ause their people that need you to show them the way to greatness you are allowed to keep what you have by giving it away. thank you so much!!!!!

  • Hi. I love the way you teach. I would like to be able to play in every key. I am older player trying to enhance my playing ability so i can play some of the up to date gospel and comptempary music like the younger folks.

    Your teaching is the best i have every seen.

  • Thanks alot!

  • ive played piano and guitar bass and drums for about 5 years now. and never really knew the basics of music and theory. just from watching your videos. i honestly feel that you help me build a better vision of would like to compose.

    thank you. i appreciate it.

  • thank you very much very helpful

  • omg i'm not retarded! thankyou!

  • Amazing Sir, thank you -

  • youre awesome. thanks for the help!

  • c'etait parfait, merci

    Larry

  • thank you! :)

  • Thank You Great Lesson

  • great videos

  • Thank You!! Keep up the good work!!

  • You were very clear, thank you.

  • spoke too soon! after watching a second time i understand perfectly. really beautiful sound progression

  • great lesson! still kinda confused... but i can't wait to go over these in theory this year

  • Thanks!! I heard that chord change of secondary dominant to temporary tonic before but couldn't work out how it was done, it is a chord change that I've always enjoyed hearing!! Great lesson!!! I am very grateful!!

  • Thanks, i can now do my harmony hw, hopefully.

  • Thank you for the video. I have one question: I guess from your last demonstration (going to a minor) that dominant 7th chord can be resolved by either a major or minor temporary tonic chord. Thus CEGBb can lead to a chord F major, but EG#BD can take the listener to an a minor temporary tonic. Am I right? Thank you.

  • Are you related to Professor Ruffin at Morehouse College? You look just alike and he teaches Piano.

  • Wonderful, wonderful stuff and thanks so much for having that camera guy stand behind you so the keyboard isn't upside down lol. Theory is so important because it transfers to any key and you make it so easy to understand. Great teaching, Bro. Thanks so much!

  • Very helpful. It's nice to have a name to use for that chord function. Isn't the II minor used to establish a new key center along with the dominant?

  • you're very helpful... Thanks... Keep it up! :)

  • Thank you this was very helpful

  • Wow..now I understand why...I was having a confusion because I used to see the pianist of my church playing in the key of C, but also hitting black notes and still sounded good, without losing that harmony....I couldn't understand that, I even thought it didn't make sense but now is clear.....thank you for your helpful lessons, since I'm the youth pianist, they count on me, and I count on people like you.....thank you...God bless you

  • great! I'm new to this - can you please clarify: you have these triads: Dm Em F G Am taken from C major harmonisation, you can build dominant 7ths a 5th above each which would make: A7, B7, C7, D7 and E7 the 5 secondary dominants of C major. I take it you don't build a dominant before the diminished triad? And all other dominant insertions would be modulations, sush as a Bb7 (which moves nicely for example back to C after |C C7|F Bb7 C|. What then is this called? Thanks!

  • very well done video, thank you for your contribution to the study of music theory!

  • Comment removed

  • !!!! I just added a link to this video to this to the WIKIPEDIA definition for secondard dominants !!!

  • Come out with the DVD's...you are awesome......more people should hear about you...

  • THANK YOU!!!

  • Your videos are great man! Its great to be able to understand the theory behind all that your doing. Break down those other chords movements that you were doing when demonstrating the secondary dominants.

  • Thank you very much. I really appreciate this. I am going to have to go over it a couple times. Thanks again.

  • Thank You, I understand it better from a simplistic model.  I am still stuggling building the secondary dominant on minor chords a bit.

  • Thank u so much

  • This is awesome!! More people should see this. Keep it up!

  • Man

    Where have you been?

    Why couldnt you be my music teacher when I failed music theory In college. I eventually passed and learned it!!!

    but you made it so simple and effortless!!!

    You got to have a DVD of your lessons

    All seriousness

    Keep it up man

    YJ

  • you are an awesome teacher. If you came out with a music theory video I would buy it

  • thanks for clearing that up. your a great teacher!

  • thanks basicprincipal!

  • Whoa ,,,well said~!!

  • Thanks for this video, I'm learning new things

  • Thanks, this helped.

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