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Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
So anyway, the Dominant 7 chord has a minor 7th above a major triad. And the word dominant has nothing to do with the fact that the chord has a 7th. It's only to do with the fact that it is in the dominant position, the V position. If it had a 6, it would be called Dominant 6th.
Unless they are secondary dominants, other chords that have a minor 7th above a major triad CANNOT be called dominant 7, they should in theory (geddit) be called a 'tonic flat 7' or an A7 or something, unless they're resolving up a 4th. Justin uses a terms like 'functioning dominant', 'non-functioning dominant', for major triads with a minor 7th which are not on the dominant chord, but really, if it's not in a V position, even a temporary V, it can't possibly be a dominant. Y (and Pip's) MMV.
Cheers
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
In your example of blues in A - with the chords A7, D7 and E7, the D7 can't play a secondary dominant role, as it is either moving back to the A7, which is just a plagal cadence, or on to the E7, which is just up a tone obviously. It could only be a secondary dominant if the next chord were a G.
The A7 is tonic, but does play a secondary dominant role when it's preparing to shift to the D which stands temporarily as a tonic. It's very effective if you wait till the last beat before adding the 7 to the A, so A/A/A/A7/D - you can hear the dominant preparing D to stand as home for a bit.
And the E7 is the primary dominant of course.
If, between the D7 to E7, you were to insert a cheeky B or B7, that would be a secondary dominant to the E. You could even just play a D# note and it could imply a secondary dominant, coz the D# is the major 3rd of the B chord.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Studio: https://www.voltperoctave.com
Music: https://www.euclideancircuits.com
Me: https://www.jamesrichmond.com
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Seriously: If you value it, take/fetch it yourself
Authentic Cadence V to I (Resolving)
Deceptive cadence V to any of the others, but not the Tonic. (Not Resolving.)
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
The problem with music theory is if you have a guitar teacher, they'll play you a song on their mp3 player to explain a concept and you'll get it immediately.
On a guitar forum it's even more straightforward. 8 people will provide different solutions, any person can refute or contradict an opponent but the word count of each competitor is taken and aggregated. It's worth noting that a picture is worth a thousand words which is multiplied by the number of lines of symmetry in the main structure at this point 10 points is awarded for each colour used.
Belieb!
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Many players don't seem to realise that there are many Music theories; Western Classical, Modal (old), Modal (new), Serialism, etc the list goes on and on.
I see some players trying to apply Western Classical Music theories to analyse Pop and Rock music, this approach doesn't work a lot of the time and ends up with them being very frustrated...
I think a bigger problem is folk treating music theory as if it is absolute.. like a set of rules.. and then find that they're being confined by it.. kinda the tail wagging the dog type thing..
BTW folks: a secondary dominant is a dom7 chord with respect to any chord in a key other than chord I [because that is diatonic and often a perfect cadence too].. so for example, in the key of C, chord II = Dm, the secondary dominant would be A7 because A7 is what the dom7 chord is with respect to the Dm chord.. and likewise, the secondary dominant of chord VI in C [the chord of Am] would be E7 [because E7 is the dom7 in relation to Am].. the use of the secondary dominant can be two fold.. most obviously it will introduce notes from outside of the key to create richer harmonic content.. ie, E7 contains the note G# [which is outside of the key of C].. also, it can be used as a sort of 'springboard' to head off into a new key.. a cool tool for kicking off a modulation..