 Hi guys. So welcome back. This is Jason here from Nathaniel. In this lesson, we are basically going to explore the study of secondary dominance from a theoretical perspective and also using a masterpiece of a song called Doremi from the movie The Sound of Music. So what is really great about this melody is that every landing note of the melody line and by landing note I mean the long notes or the notes which are at the one of the bar. You have to notice that all of those are chord tones. And in some cases, a lot about this song has chords which are outside the key. In this case, the key of the song is B flat and I have covered the melody and the chords in the previous part. So if you haven't already do, head over and check out that part. If you don't know the melody to Doremi from The Sound of Music. If you do, just stick around. Even if you don't know the melody, it's fine. This is just to show you the chord movement of the song. So the song is on the key of B flat. Now you have a bunch of chords. You have your seven available triads which are B flat major, C minor, D minor, E flat major, F major, G minor, A diminished and of course you repeat that tonic chord. You don't have to repeat it. It's just there. So the major chords are 1, 4 and 5. Minor chords are 2, C minor, 3, D minor, 6, the G minor and you have the loan diminished chord which you rarely use in any case. Now this song uses these chords for sure as most songs in the key will, they will stick to the diatonic harmony but it also uses a lot of chords which are outside the scale. And this is governed by a topic of music called as secondary dominance. And secondary dominance come after something else called primary dominance. So first let's look at that. In a major scale like B flat, if you go up the fifth, it will be B flat, C, D, E flat, F. If you go to the F, the fifth, you play the major chord on the fifth. What happens is this chord seems to want to and really magnetically attracts towards the tonic or the root chord. F wants to go to B flat. That's because of those semitones between the A and the B flat. And if you couple it with the E flat which makes it an F dominant seventh. So there are two attractive things going on. There's E flat and then there's E flat D, E flat, E flat D. So the F seventh chord or just a plain and simple F major, it's job or somehow it just feels like it with the laws of musical physics to resolve to the tonic chord which in this case is B flat major because we are in the key of B flat major. So that's about the primary dominant. Find a scale, get its fifth, fifth goes to one always. Now you also have something called as the secondary dominance. Secondary dominance are chords which are still fifths of other chords of the scale. So it will not be the fifth of the home chord which is B flat. It will be fifth of the two or fifth of the three chord or fifth of the four chord, fifth of the five chord, fifth of the sixth chord or maybe even the fifth of the seventh chord. But the problem is if you do fifth of the seventh chord, you're resolving to a diminished chord. So you're going from something unstable to something even more unstable. So the fifth of the seventh is generally ignored, at least in theory it is actually ignored. So remember you have the fifth of the two chord which is the two minor, fifth of the three which is the three minor, fifth of the four which is the four major, fifth of the five which is the five major and fifth of the six which is the six minor or the relative minor in the key of whichever major scale. So you go B flat which is the one. Now C minor is the second. Now naturally C minor feels like it's left the house so to speak. B flat feels home but C is like away from home you know. It's like you've started your journey. But if you do a chord which pulls back to C minor, it'll make C minor itself sound stable because within that vicinity of chords, C minor is way more stable than the chord which is anchoring or resolving towards it. So how do I get the second redominant chord of C? You go you go a fifth or a perfect fifth. It's good to know your intervals. So you just skip immediately. The circle of fifths is also great for this exercise. In fact we've done a really nice lesson long long ago on circle of fifths using what's called as dominant resolution. It'll be in the description. Do check it out. So let's look at the two minor again of B flat which is C minor. Its fifth is G. So you do G major or G dominant 7th, G B D F and then it resolves to the two minor. Remember the two minor of B flat major is C minor. So its fifth is G resolves to C minor. So the primary dominant F 7th resolves to B flat, resolves to B flat and then G 7th resolves to C minor. Okay now we want to find the chord which resolves to the three minor which is D minor. Okay again you calculate up a fifth. D's perfect fifth is A. So you do A7, D, D minor. Okay A7 becomes a secondary dominant of D minor and to name it you just say 5 of 3 or 3 minor. 5 of 3 minor. So far what do we have? The normal primary dominant F7 B flat. Okay resolving to the tonic and then you do 5 of 2. Okay that's G7 going to C minor and then you have A7 going to D minor. Okay now what's the 4? The 4 chord is E flat major. What is its 5th? It's B flat. Okay so that's B flat dominant 7th going to E flat. Okay B flat, E flat, B flat, E flat. It's also called in church music we call this the plagal cadence or the arm and cadence which is usually done at the end of a hymn. So you go so where did I resolve to the 4 even though habitually the 4 is like not a normal stable chord when you're composing songs in major but this is a beautiful concept because it allows you to kind of have another home, a secondary home. So again wherever we come from so far B flat. Primary dominant F7, F7 going to B flat, G7 going to C minor, A7 going to D minor. Okay so train your ear by singing the roots of the chords or anything to connect those two chords. Whenever you use a secondary dominant you need to use it in combination with the resolving diatonic chord otherwise I don't think it makes real sense it'll just be like jumping away and for no reason you know and you don't have a pathway to come back you know so you need to practice that those two chord sets or that cadence to kind of let your ear decide how you're going to connect even melodically between chord to chord so and then we have to go to E flat that's your E flat okay so that's resolving to the 4 so that's your 5 of 4 and now what's my 5 F major so what's the 5 of 5 right it's a funny name but you have to deal with that 5 of 5 F's 5th F C so you'll go C7 these are all 7th chords 7 chords will pull really well to to that landing so that's C7 going to F okay and let's move forward what's the 6 now G minor 6 is always minor what is G's 5th D this is actually not the right way to count it I'm just showing you for visualization but you need to just know that G's 5th is D you have to and study the circle of 5th it's really helpful there will be a circle of 5th playlist in our description I've done a lot of videos on the circle of 5th where I've really really stressed on the fact that the circle of 5th is actually even more important in learning scales you should probably do that as much or more as how you we tend to remember and get used to our scales so what's the circle of 5th playlist okay so you go where am I now I'm on the 5 oh sorry I was on the 6 so what's the 5 of 6 that'll be D7 and G minor okay D7 G minor and remember we avoid the 5 of 7 because 7 is diminished let's go through all the secondary dominance and then very shortly we're going to see how it's used in the great masterpiece of a song called Doremi from the sound of music so do stay tuned till the end fine so you have B flat what comes to B flat it's dominant so F B flat G7 C minor A7 D minor not D major D minor because it's B flat major scale okay D flat E flat E flat major then C7 which is the 5 of the 5 which is F and then D7 is the 5 of the 6 that's pretty much it in addition to your entire chord theory of the major scale you need to also plot out your secondary dominant chords and yeah there are a few more things we plot out like our chord extensions our parallel chords we'll get into that soon so secondary dominance is the focus because the song which I'm going to share with you which is a female dear pretty much revolves entirely around secondary dominance so now let's get started with analyzing do or dear and then applying what we learned using the theory of secondary dominance with the song right of course the song has been composed beautifully our goal is to just kind of analyze it and hopefully make similar music in the in the time to come moving forward right so let's now look at applying all that we've learned all the secondary dominant theory and general chord theory in inside this masterpiece of a song do or dear from the sound of music so we start with the tonic chord do or dear which is B flat major do or dear a female dear and here's the fun ray a drop of golden sun so it kind of lets you hang in the balance ray a drop of golden sun and if you observe what julie andrews is singing she's actually singing on the chords it's not a very linear melody it's she's always landing on one of those notes of that f major chord it's kind of re-iterating the harmony so do or dear a female dear so if you look at the notes of that melody do or dear it's essentially singing on the B flat major triad it's just that do or dear all the how do I put it all the non-important English words do or dear is not an important word isn't it the word do is obviously important because that's a female dear and obviously the word dear will be important so you kind of ignore words like a off I to all of those words you know which are not adjective just connecting words right so a songwriter what they will do is generally not bother about landing on those notes because it's annoying to even say it in free speech or in a poem you never talk by highlighting a word like or off isn't it so what tends to happen is the songwriter will be doing all this activity together they'll be composing the chords probably having their pen and paper their piano everything ready and singing the melody at the same time so it all kind of comes together so when the melody line is presented it's just a way of highlighting the harmony so if you think about it the melody and the harmony are actually one in a song it's not different and it's obvious we hear both together at the same time isn't it and rhythm binds them together so you'll have all the important words do dear and so on and so forth at the strong beats of the bar and the strong beat will be beat one generally and exactly where you'd want your chord to change and also the notes or the melody points which are long do a dear see how fast she sings a do a dear a female dear so always these urs tend to just quickly move forward so as a musician when we take these not so important words like a and if and to and what not we kind of look at it more creatively because the chord is defining most of what we compose as a melody but at those points at those not so important words we can connect we can do things outside the scale or we can do notes which are at least outside the chord like what's happening here do a dear do a dear so c connects to d a female dear a a drop of golden sun right so generally the vocalist is going to highlight or the melody line is going to highlight the the crucial chord tones especially the one the three and maybe even the seven and what will happen on the chord department is you play the chord and the vocal will kind of extend that chord and just make the chord come to life so to speak moving on so b-flat a dear a female dear f7 a drop of golden sun and now me a name me a name i call myself she uses the two other notes of the b-flat major chord me a name i call my which is d and f so very chordal melody then far along long way to run now that's a beautiful extension there so the vocalist is deciding to sing which is actually a ninth extended above the seventh so that's where it's possible for the vocalist to add the color you know so now moving forward we have the so a needle pulling thread so a needle pulling thread okay so now the secondary dominant stuff starts happening so a needle pulling thread so where did i want to go at thread e-flat is the chord at thread but what connects it it's secondary dominant chord so what is the fifth of e-flat b-flat so b-flat wants to go to e-flat you can even do a b-flat seventh to pull it even stronger b-flat b-flat seventh going to e-flat okay and then we do another secondary dominant dual chord system la c seventh a note to follow so why did i do c seventh to f f was my land a landing chord a stable chord its fifth is c la a note to follow so and c seventh will make it really nice and look at what the vocalist is doing in the lyrics it's it's really pulling the chord further right it's further emphasizing how unstable the first chord is and how stable the second chord is so so a needle pulling she's pretty much singing on the scale so b-flat cd e-flat fg the melody sort of glides itself to the next chord so it's a really well composed songs beautiful harmony great melody awesome lyrics right so get acquainted with it and whenever you learn songs like this which are great songs as countless generations will tell us the you're learning a lot and when you compose music you should always try and compose it instinctively you should never force the song the song should kind of come to you okay so the more concepts you learn the more songs you digest and analyze i guess it's better in the long run for you as a composer okay so so a needle pulling thread so so is a land b-flat a needle pulling thread thread she lands on g which is part of the e-flat chord which is the next chord she really highlights the two chords so see how she left the scale there actually because it was the point of the matter was to go from c7 so she got that license to sing that e even though it's not there in the b-flat major scale so the melody is gone off the scale off the grid because the chords are off the grid you know so moving on the same story t which is d7th a drink with jam and bread that was the five of the six and then you do another secondary dominant which is the five of the four five one which is a very common ending so if we explore the last just the last line that will bring us back to do okay so that's a very traditional ending in lot of songs where you do the four major five major and then the tonic so it really emphasizes the tonic the four is what we call as the subdominant or the predominant five is the dominant as we've seen and then you end with the tonic so let me just break this down once more by just doing the whole thing again I'll try and name the chords for you as well as I play along okay so what is the purpose of this video again it's to basically explore this great song and look at how it really exploits the topic of secondary dominance which you can find in a lot of music which may not be that popular or may not be that current you know may not be written in 2021 you'll have to go back rewind time maybe to elton john queen sting billy joel so these are the artists who really use secondary dominance well with and that's what makes them unique and I guess their songs are great because they've been around for so long they've been around for some of them you know 50 60 years if you go back to some of the Beatles classics as well right so this song is no different but I thought of taking this specific song because it just zeros in on that one concept secondary dominance so I found a lot of students try to read this from textbooks and mug up the theory I really think if you take up an already existing song like this which sort of teaches you secondary dominance it's almost like education learning the song is the theory you know and by learning this you you you'll get more naturally acquainted with the sound of secondary dominance okay let's break this down again and then we are pretty much done with the lesson chord that's the dominant that's five back to the dominant results call myself dominant far a long long way to run that's a dominant goes back to the tonic which is the five of four which is E flat now C seventh out of the scale which is the five of five and then you go to D seventh which is the five of six then five of four oh five one and that's pretty much the song so the last video showed you the melody line of the song it showed you how to play it how to get the correct fingering also showed you the bass notes and the root chords this video we kind of dived in a lot further with the theory behind the song using secondary dominance and how it resolves and how it's a chord which is out of the scale which comes back to the scale right so this is about our two-part series on exploration of Doremi and secondary dominance all together you know and hopefully you can make some use of this concept and make some music using this concept again this is Jason here from Nathaniel if you haven't already hit the subscribe button turn on that bell and anything else you can like the video share the video leave us a comment for something you'd like to learn in the future and also do consider following us on patreon where every single one of my lessons whatever we do every one of the notes and notation everything has been handwritten and it's put there as a neat downloadable file cheers and catch you in the next one