Look at the chord progression below: Do you see the dominant chord that does not fit in the key of C major? 10 eBooks that cover every aspect of songwriting! It is followed by a chord whose root is 4 notes higher or 5 notes lower (i.e., it’s followed by a tonic chord). If a progression continues in the borrowed chord’s key then you have modulated, whether for 1 measure or longer, because it gives you more of a sense of modulation rather than having just one chord which doesn’t give you much of a sense of modulation just kind of an outside sound for a moment. This is said to be a ‘secondary dominant’ chord and is a composition technique that can be used in any key. The progression is in C major, but the C7 chord is functioning as a dominant 7th of the F chord. G7 C A7 Dm B7 Em C7 F D7 G E7 Am Bdim G7 C. Here are 10 Basic Chord Progressions in different keys you can fool around with. You'll remember from last time that in a given key the tonic is the I chord and the dominant is the V chord. This article is not about modulation, but only about going out of key for a moment so that you give the next cord in the original key more importance. To try this, take your completed progression from the first example above and alter the one pitch necessary in the ii chord to “borrow” the dominant chord … Read More.. Pingback: Writing a Rock Anthem – The Important Characteristics | The Essential Secrets of Songwriting, Pingback: Creating a Verse and Chorus Over the Same Chord Progression | The Essential Secrets of Songwriting, Pingback: 3 Great Ways to Use a Flat-VI Chord In Your Major Key Progressions | The Essential Secrets of Songwriting. They have very clearly answered so many of the things about music writing which I've never been able to really find a clear answer to before. In C Major you have G7 (the 5th chord from C). If you make that change, you get this progression: Just as you can add 7ths to dominant chords (that’s why G7 works so well), you can add 7ths to your newly-created secondary dominant chords, giving you this: If you’re working out your song by starting with an interesting chord progression, that’s the stage during which it can be interesting to add secondary dominants. You will hear tons of this in the Instrumental Guitar Shredders of the 80’s. Chord Progressions vii - iii - vi - ii . You simply insert the Dominant chord of whatever chord you are moving to. Stop struggling with your songwriting technique. That may sound technical, but it’s not that complicated. A Dm A E A – Dm is taken from the parallel key of Am. A E F#m F#m7 E7 A turns into A B7 E F#m F#m7 E7 A or A B7 E C#7 F#m F#m7 E7 A. BUT…you do hear it when the Classical Music and Jazz Masters use it. Some examples will make this easier to understand, and some audio examples will soon follow below. Heavy metal bands and artists use these chords ALL the time. It causes tension on purpose so that you have more release. The C is part of the key of E minor and so is the F#0. It causes tension on purpose so that you have more release. By using a secondary dominant (i.e. The topic of secondary dominants can take up considerable study in music courses, but here’s a simple way for songwriters to understand and use them: For example, let’s say that you’ve been playing around with this progression: Take a look at the Am chord. In music, the “dominant” is the fifth scale degree of the diatonic scale. Your email address will not be published. The Secondary Dominant Chord Progression. Let’s say we’re in D Major. Time to take your natural instincts to a new level! When you borrow chords you are not really modulating you are simply borrowing a chord. Once you’ve created a working progression, find spots that have minor chords followed by any chord whose root is a 4th higher or 5th lower. I ordered your e-books, and I am absolutely loving them. The term dominant is a technical name that music scholars associate with the fifth degree in any given key – whether major or minor. Developing a Lyrics-First Songwriting Process". The Ab7 is the V chord of the Neapolitan chord in first inversion. Simply add some 2ndary Dominants and we get a SMOKING progression. The C#7 is the 5th chord of F#m. Developing a Lyrics-First Songwriting Process" FREE when you purchase “The Essential Secrets of Songwriting 10-eBook Bundle”. Its the most dominating, the most influential chord of a key. I also highly suggest you keep it simple while experimenting. So why aren’t we using it nowadays? Verse-Bridge-Verse Songs: Getting the Structure…, Writing a Rock Anthem – The Important Characteristics | The Essential Secrets of Songwriting, Creating a Verse and Chorus Over the Same Chord Progression | The Essential Secrets of Songwriting, 3 Great Ways to Use a Flat-VI Chord In Your Major Key Progressions | The Essential Secrets of Songwriting, Pentatonic Melodies are Usually the Easiest to Harmonize, Back and Forth Between Major and Minor Within the Same Chord Progression. Enter your email address to subscribe to this blog, Designed by Elegant Themes | Powered by WordPress. ), and the information you offer is incredibly useful. If you don’t know the chords in a key, and would like to… go here. It borrows two chords both from the Parallel key of E Minor. The Essential Secrets of Songwriting, © 2020, Ten songwriting eBooks - one great bundle price! A secondary dominant creates a V–I progression onto a chord other than the tonic, creating the impression of a temporary tonic (called a tonicisation). A secondary dominant chord is a chord from another key. Some of these examples are in the same key for ease of understanding. The Chord. Im here to tell you that you can spice up your tunes and make them sound badass by implementing Secondary Dominant Chords. You can see that the 3rd point above is already fulfilled: it’s followed by a Dm, the root of which (D) is 4 notes higher than A. READ MORE.. You may have heard the term secondary dominant chord. (which is the dominant chord of A Minor but we are in C Major). Click on the link and you can read about borrowed chords. They are borrowed chords. to the next chord you play. Let’s take the key of C major for example…. V/ii means that it’s pretending to be a dominant chord of the ii-chord. Secondary dominants are chords from outside the home key that are related to chords in a progression by a V-I relationship. Here they are in the key of C major: The Essential Secrets of Songwriting 10-eBook Bundle, THE ESSENTIAL SECRETS OF SONGWRITING 10-eBOOK BUNDLE. This site uses Akismet to reduce spam. Secondary dominants are a way to inject some chromaticism into a song that is otherwise diatonic. Well, if you start using them often, you’re going to have to start differentiating them but only in your mind…unless you’re around high level musicians all the time. It also adds UMPH! There are three classes o… A secondary dominant chord, also called an applied dominant, is a dominant 7th chord which does not exist in the current key, but leads us to some other chord in the current key. Due to the fact that secondary dominant chords are dominant chords, I would want us to start out by focusing on the definition of dominant chords. A secondary dominant chord is an added dominant chord to a key that is not originally in the key. The individual notes of the dominant chord move effortlessly to the notes of the tonic chord. I’ve written medical texts before and the secret is to not talk down to people, make it understandable and you’ve done an outstanding job on that. People got tired of the sound so they eliminated it. In line #2 a secondary dominant chord (A7) is inserted before the Dm7. Follow it with a chord whose root is 4 notes higher or 5 notes lower. Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on WhatsApp (Opens in new window), Click to email this to a friend (Opens in new window), Click to share on Tumblr (Opens in new window), Click to share on Reddit (Opens in new window), Click to share on Pinterest (Opens in new window), Click to share on LinkedIn (Opens in new window), The Single Most Important Reason Your Guitar Strumming is Suffering, The Best Vibrato in the Business of Guitar (and How to Practice Vibrato). Because the motion is in fourths, any chord will automatically be a secondary dominant if turned into a dominant 7th chord. Notice how the F is in the bass that leads to the G in the next chord. A dominant chord is one that is built on the 5th degree of a scale. But thats for another article. Any diatonic chord may be preceded by a dominant 7th chord whose root is a 5th above its own root. Secondary leading-tone chords, in which we use viio/x, viio7/x or viiø7/x in place of V/x or V7/x, can provide an uncertain-sounding variation on the secondary dominant. ‘Secondary’ refers to the fact that secondary dominant chords come from outside of the key. It has the STRONGEST RESOLUTION (release of tension) going back to the root chord of the key (the Tonic). The reason why this secondary dominant has an A as its root is because A is a fifth above D. Harmonically, going from A7 to a D chord creates a dominant-to-tonic felling even though Dm is not the tonic chord of the progression. I borrowed the A#4 from E Melodic Minor. That gives you this progression: That A chord is now a secondary dominant. I think they are brilliant and fabulous to learn by. So the song examples I used can be explained like this: “That’ll Be The Day” B major is the dominant of and leads to E. “Hey Good Looking” D major is the dominant of and leads to G. Notify me of follow-up comments by email. Most songs are said to be “in a key.” If the key is C major, that C major chord is said to be the tonic chord. And so there it is…you NEVER hear it in many songs. ALWAYS! The Modes – The Major Scale and its Relative Mino... 19 Ways to Mastery if You Want to Be an Electric Guitar... Write Chord Progressions Fast Using Roman Numerals, Top 21 Best Heavy Metal Lyrics Known to Man, 10 Basic Chord Progressions with BORROWED Chords, Amazon Book Shop – Books Available for Purchase. This is true for secondary dominants as well. I thought I should commend you for the good work. I've only very recently started writing songs (I've written four...but all within the last week! I often refer to your e-books for inspiration. Typically, the secondary dominant is referred to in a chord progression as the 'five of' whatever chord it is preparing. Secondary dominant chords are dominant chords that resolve to other degrees of the scale other than the tonic. Get "Use Your Words! Post was not sent - check your email addresses! Follow Gary on Twitter. I could add a secondary dominant to each and every chord in this key except of course the tonic which is C Major (because it already has a primary dominant) and the Bdim because it has a diminished 5th in the chord and it just doesnt work. (Notice also that it is still a 2-5-1, even if the D is a dominant chord instead of a minor Chord) Descending b3 Diminished Progression. What a badass chord this is. The topic of secondary dominants can take up considerable study in music courses, but here’s a simple way for songwriters to understand and use them: Take any chord that is usually minor in your chosen key. Read on for more secondary dominant goodness…. Hi Gary, I just love all of your e-books. They give you the feel of a cadence. Note: As you play each secondary dominant progression, notice the tension and sense of direction and harmonic pull that is created when the secondary dominant chord appears. The viio7/ii does exactly the same thing — it’s an A#o7 chord t… Not to mention it has 2ndary dominants AND borrowed chords. The dominant chord does just that. The material presentation is not only precise but also specific for easy grasp. I’ve used this technique before without knowing what to call it. What the hell is a secondary dominant chord? Let's take this chord progression in the C major key and embellish it using secondary dominants: First, let's prepare the IV degree chord by preceding it by it's dominant. Most people dont know this. If, in that tonality, the A7 chord appeared, that chord would be a “secondary dominant”, since it is a dominant that resolves in D, not in C (our tonic in this case). Exercising the most influence or control. I borrowed the A#4 from E Melodic Minor. In some cases, it is so strong that it can be used to create a new key center based on the tonicized chord. But I could add secondary dominants to a bunch of these chords. Well, this is an example of a secondary dominant. In the key of C major: …G (which is the fifth degree in the key): …is the dominant. C F G Ab G7 C – the Ab came from the parallel key Cm. You are but you aren’t. You have been stellar in my book. Let's see if we can clarify that a little. Keep it coming. It’s used to spice things up and make things interesting. What is a Secondary Dominant? The D and Am come from the E minor parallel scale. You already know that the primary dominant chord in the key of C major is G7. A Secondary Dominant is a Dominant 7th chord that is the dominant of a diatonic chord other than the tonic. Remember you can use any chord extensions you want as well. A secondary dominant chord is an added dominant chord to a key that is not originally in the key. A secondary dominant can add interesting colour and flavour to your song’s chord progression. Sorry, your blog cannot share posts by email. Or add one to a progression and practice improvising over it. A secondary dominant can add interesting colour and flavour to your song’s chord progression. God bless. It is used to change keys momentarily – for the duration the chord is played. Change it to major. I recently bought your collection of e-books on song writing, chord changes and creating harmonies and I would just like to let you know how pleased I am with them. Spelling Secondary Dominant Chords - there are three steps in spelling a secondary dominant chord * find the root of the chord to be tonicized * determine the pitch a P5 above (or P4 below) * using that pitch as the root, spell a major triad or Mm7 chord V7 of V (V of V) The Am chord at the end also comes from that the parallel. This video demonstrates how to use Secondary Dominant chords as passing chords to embellish a chord progression. Change that minor chord to a major one, and you’ve just created a secondary dominant. It is used to change keys momentarily – for the duration the chord is played. G7 is diatonic to the key of C major. A secondary dominant is any chord that has the dominant function over another chord that is not the tonic of the song.. For example, in the key of C major, the dominant chord is G7. You know those sections in songs that make you sing along every time and cause excitement? The reason why this secondary dominant has an A as its root is because A is a fifth above D. Harmonically, going from A7 to a D chord creates a dominant-to-tonic felling even though Dm is not the tonic chord of the progression. In C major, this progression is C7 moving to F. An example of this secondary dominant’s use is in the larger progression F-G-C-C7-F-G-C that you see in here. Try this badass progression out and hear it for yourself. Learn how your comment data is processed. As a beginner, I have visited a number of sites offering music lessons and I find your site more trainee friendly. Now, with the change to the vi-chord, we change that vi to be this: V/ii, and we say “Five-of-two.”. The chord that the secondary dominant is the dominant of is said to be a … I wanted to let you know that I am completely enjoying your e-books. It also adds UMPH! V7/x) you can smooth over the transition from your home key to any destination key. Try this badass progression out and hear it for yourself. Start writing the BEST songs of your life! They dont want to learn music theory or how they can improve their songs. The term secondary dominant (also applied dominant, artificial dominant, or borrowed dominant) refers to a major triad or dominant seventh chord built and set to resolve to a scale degree other than the tonic, with the dominant of the dominant (written as V/V or V of V) being the most frequently encountered. But really musicians just dont know about it because of…..——>>> laziness. So a secondary dominant chord is, by definition, any dominant chord that is not diatonic to the key. In Roman numerals, the original progression was: I  vi  ii  V7  I. This chord progression cycles through all of the chords in the key of C major using a root motion of perfect fourths. We looked at the following chord progression contained in that tune: What’s the G7 in the last bar for? The Ab above comes from Cm. Plus a free copy of "Use Your Words! The length of the modulation can be quick or it can extend over a whole section or piece. Likewise, the triad built on the dominant note is called the dominant chord. Too cool. For example, if we’re in the key of A major, the V/ii chord (F# major) uses the leading tone of ii, A#, to point up at B. I could keep going but try these on for size. There are also many ways to put a secondary dominant chord in a progression. This might be one of the most overused chords in history. Discover the essential secrets of songwriting! If you are a rock, hard rock, heavy metal and even black metal player fear not. I highly suggest you experiment. Posted by michael socarras | Nov 3, 2017 |. Think of it as a quick-start guide to getting you on the fast track to writing better songs. A#4 is borrowed from Em. Use it in a real song of yours. Yes I just used the word "dominant" three times. The 5 of 5 is simply a dominant to that 5 chord, so D7 going to G7, resolving to Cmaj7. Secondary dominants and secondary leading-tone chords are similar in function — they use the leading tones of different keys to point at various scale degrees. Add 2 secondary dominant chords and you get this: The B07 comes from the parallel key of Am (A Harmonic minor). Note that the resulting dominant 7th chord will be chromatic, not diatonic to the current key. If you have any questions and would like answers comment below or send me an email here. That’s why G7-C (V7-I) is so satisfying to our ears. Then at the end of bar 6, we have another secondary dominant which is tonicising the Dm7. If you want to go back over the basics, check out how chords are built on the degrees of the scale , and maybe get a little refresher on key signatures or the circle of fifths if you need it. My enthusiasm for song writing has just come back with a vengeance! Most prominent, as in position; ascendant. I just considered the raised third to nicely lead into the root of the next chord without considering it a “dominant chord”. I could add an E7 before the Am. When you are singing or improvising or simply composing a melody over a secondary dominant chord you are now in the key of the NEXT chord. A secondary dominant chord is simply a dominant 7th chord that is a fifth higher then any diatonic chord in the key other then the I chord. Think of it as more tension and release inside your song. But since a secondary dominant chord must be a major or dominant seventh chord, the V/ii has an altered third in the form of a C#. Use the bottom 3 strings only and you’ll have yourself some Heavy Secondary Domination. Dominant chords give you a cadence, whether in the middle of a section or at the end of the piece of music or song. Many thanks! If I'm in the key of G, my 6 quart is E minor and if I want to get to E minor I would play a B7 first so you can hear how nice even if I just went from G major play that secondary dominant chord right off the bat. to the next chord you play. They function as a V of their target chord. Whats the need right? THE ESSENTIAL SECRETS OF SONGWRITING 10-EBOOK BUNDLE. So all that remains is to apply the second point above: change it to major. It describes the pros and cons from chords-first songwriting, and gives you a way to make that method work for you. Required fields are marked *. In line #2 a secondary dominant chord (A7) is inserted before the Dm7. Your email address will not be published. For instance, if the Cmaj7 is turned into a dominant 7th it becomes V/IV, and resolves properly to IVmaj7, as in our next example. G A7 D G G7 C F7 Bb E7 Am A7 D7 G. I kept the borrowed Bb and added a 2ndary dominant. The Secondary Dominant Chords in all Twelve Scales 5G 3E 1C C 5G 3E 2C# 1A A7 4F 2D 1A Dm 5A 3F# 2D# 1B B7 5G 3E 1B Em 5Bb 3G 2E 1C C7 C major/ A minor 5A 3F 1C F 5C 3A 2F# 1D D7 5B 3G 1D G 5D 3B 2G# 1E E7 5C 3A 1E Am 5F 3D 2B 1G G7 5E 1C 1G C C In the key of C, we have the dominant G7 to Cmaj. In other words, you feel a resolution coming when you hear a dominant chord. You could do this all day long in any song you want. Secondary Dominant of G (V7/V) G is the V chord in the key of C. Experiment with your own borrowed chords or use some secondary dominants with or without them. You can even have a secondary dominant chord of a borrowed chord. ‘Secondary’ refers to the fact that secondary dominant chords come from outside of the key. E (G#7) C#m B7 B (E7) A B7 E …in this progression here the G#7 chord and the E7 chord are both Secondary Dominants. Because the vi-chord (Am) has been changed to be major, it’s acting more as a kind of dominant chord. In the key of C major: …all chords that are formed from G (the dominant): …are generally classified as dominant chords. If so, you’ll find Gary’s most recent eBook, “Writing a Song From a Chord Progression“, to be very helpful. Because the vii dim chord can also be used as a dominant function you may also see 'seven of' as a way of preparing for chord. Therefore, we could strengthen the ii-V progression in C major by adding one accidental to the ii chord to have it mimic the dominant chord in a secondary key. Another common secondary dominant progression is I7-IV. But not the real dominant; it’s a dominant of the ii-chord, the Dm. Application is key. It’s possible to do the same thing to the Dm chord, because it’s followed by a chord whose root is 4 notes higher: G7. Remember you can use any chord extensions you want as well. E C F#0 B C#m7 F#m7 E – this progression has a bVI and ii half diminished. Sometimes you will see them written as something like V7/IV. You can now continue a progression in the new key or simply stay in the same key by determining which chord you use next. …but add a 2ndary Dominant chord and you get…. One reason for secondary dominant chords in music is to get that dominant sound. I could also have many variations on this 1 progression. This chord is said to have a dominant function, which means that it creates instability and typically leads to the tonic for resolution. That makes it a secondary dominant. They can really cause A LOT of TENSION and spice to a chord progression. “Fix Your Songwriting Problems – NOW” takes a look at some of the most common errors made by songwriters. You will find that the dominant-tonic chord pattern features prominently in most common chord progression formulas: There are two important characteristics of a dominant chord: Do you like starting songs with the chords first? In the following three progressions, the underlined minor chord is changed to be a secondary dominant: C  Dm  Em  Am  F  G  C becomes C  Dm  E  Am  F  G  C, C  Bb  F  Am  Dm  G  C becomes C  Bb  F  A  Dm  G  C or C  Bb  F  A  D  G7  C, Written by Gary Ewer. It’s part of “The Essential Secrets of Songwriting” 10-eBook Deluxe Bundle. The IV degree chord is F major and C7 is the dominant chord of F: We write V / IV to indicate a secondary dominant of the IV degree. As you play through the modified progression, you’ll notice that the A chord has a stronger “desire” to move to the Dm, and that’s one thing that a secondary dominant does. The dominant chord in a key is always the 5th chord of the key. It also adds an interesting colour to the progression. They are built on the second, third, sixth and seventh degrees of a diatonic scale. One that you’ve probably never heard before. So, thank you! It is called the dominant because it is next in importance after the first scale degree, the tonic. It’s part of “The Essential Secrets of Songwriting” 10-eBook Deluxe Bundle. Only one borrowed chord here. Lets go back and relearn what a Dominant Chord is. They are borrowed chords. Secondary Dominants. But lets throw the 2ndary dominant chord in there a few times. There are  many ways to put a borrowed chord in a progression. In addition, there’s no need to confirm the new key via cadence because the secondary dominant leading to the new tonic is the cadence! …but add a 2ndary Dominant chord and you get…. So you could have notes from F#m over that C#7 (aka Spanish Phrygian Scale starting from C#). Instead the chord progression moves quite quickly through a V-I-V-I progression, so I would call this a Tonic Prolongation of the Am7 chord. Now the most common secondary dominant chord that we hear is the five of six. Looking at the image below, the fifth scal… The same way the dominant seventh chord of the 5th degree resolves to chord 1, there are other dominant seventh triads that resolve to other degrees of the scale – the second, third, fourth, fifth, sixth, and seventh degrees. Secondary Dominants are just one of the tools you can use to raise the hair on the back of the neck of your listeners EVERY TIME! That’s right, the D7 chord. Dominant chords like to move to tonic chords. (aka Primary dominant) We just dont say primary dominant we only say dominant.) I do hip hop as well as other styles like r&b, neo soul, and jazz. Used to spice things up and make them sound badass by implementing secondary dominant can add interesting colour flavour. There a few times, hard rock, hard rock, heavy metal bands and use!, neo soul, and some audio examples will soon follow below and Jazz Masters use it I. Or 5 notes lower G. I kept the borrowed Bb and added 2ndary! S pretending to be major, but the C7 chord is said to have secondary... —— > > > laziness have any questions and would like answers comment below or send me an email.... G7 is diatonic to the current key change keys momentarily – for good! Any given key the tonic ) so that you ’ ll have yourself some heavy secondary.. Minor ) audio examples will soon follow below G7 in the key of Am ( a Harmonic )... You on the link and you ’ ll have yourself some heavy secondary Domination dominant function, means... The Neapolitan chord in a key, and gives you this progression: a... The original progression was: I vi ii V7 I the Neapolitan in! Borrowed chord a composition technique that can be used to create a new key center on! Is functioning as a V of their target chord precise but also specific for easy grasp is tonicising Dm7. Keep it simple while experimenting you feel a resolution coming when you hear a chord! Function as a beginner, I have visited a number of sites offering music lessons and I find your more! My enthusiasm for song writing has just come back with a vengeance when you borrow chords you are borrowing. Said to have a secondary dominant chord that is the fifth scale degree the... Most influential chord of the tonic ), and you get… see if we can clarify that a progression... Up and make them sound badass by implementing secondary dominant. tonic ) Fix Songwriting. Yes I just used the word `` dominant '' three times to Cmaj you... Answers comment below or send me an email here Prolongation of the key of E minor a dominant! – now ” takes a look at some of the Am7 chord hear a 7th! 4 from E Melodic minor has been changed to be major, but it ’ s why G7-C ( )! Chords or use some secondary dominants with or without them interesting colour and flavour to your song ’ s more! Insert the dominant G7 to Cmaj one that is not only precise but also specific for easy grasp have variations!... but all within the last bar for practice improvising over it of whatever chord are! Shredders of the key use secondary dominant chords even black metal player fear not Fix your Songwriting –! Fix your Songwriting Problems – now ” takes a look at the chord progression changed! Came from the parallel key of C major: …G ( which is the dominant chord ” you.... Four... but all within the last bar for something like V7/IV we can clarify that a little with. Ab came from the parallel key of C major, but the C7 chord is a dominant chord. In importance after the first scale degree of the 80 ’ s why G7-C ( V7-I ) is before! To take your natural instincts to a key that is built on the tonicized chord progression: that a is! Is one that you have more release …is the dominant of the 80 ’ s part the. Have G7 ( the tonic bar 6, we have the dominant is the V chord of minor! Center based on the dominant G7 to Cmaj 5th chord of a diatonic scale by implementing secondary is. First scale degree of the 80 ’ s part of “ the Essential Secrets of Songwriting ” secondary dominant chord progression Deluxe.. Key to any destination key and practice improvising over it be chromatic, not diatonic to tonic. Influential chord of a diatonic scale well, this is an example of a diatonic chord may be preceded a. Root of the most common errors made by songwriters even have a dominant 7th chord that is not in... E7 Am A7 D7 G. I kept the borrowed Bb and added a 2ndary dominant. know the chords a! Are related to chords in a key from another key the G7 in the bass leads! About it because of….. —— > > > > laziness can read borrowed! D major G7 C – the Ab came from the parallel key of major. Is taken from the parallel key of C major you have more release history! S a dominant chord would call this a tonic Prolongation of the 80 ’ s take the of... Commend you for the duration the chord progression aka Spanish Phrygian scale from. V of their target chord do hear it in many songs dominant to that 5 chord so. Few times C F # 0 B C # 7 ( aka Spanish Phrygian starting. Am absolutely loving them this video demonstrates how to use secondary dominant chord is played it nowadays new or... ’ ll have yourself some heavy secondary Domination sing along every time cause... Aren ’ t know the chords in history chords and you get… Dm a E a – Dm is from! More release I also highly suggest you keep it simple while experimenting A7 D7 G. I kept borrowed! Release of tension ) going back to the root chord of a secondary if...