@@musicgreatness9987 Sure you play A7 as the secondary dominant at 6:08 for Dm. Then you talk about EbMaj7 at 7:10. Is EbMaj7 the tritone sub for A7 as the secondary dominant? Just a little confused on it.
It's just confusing because it's not in the key of Gminor.... Would that be the case with all dominant7's relating to a minor chord? The Dom7 is usually in the key of the chord it's going to.
I don’t think Ebmaj7/F is a true tritone sub. It would need to be a dominant chord for it to be a true substitution. It’s more like a chord borrowed from Phrygian. It acts similar but without the dom function the pull isn’t quite as strong. I also don’t think I’d call that a C11. There’s no third so it’s more of a C7sus4 chord, which has a similar function to a dim chord. I’d say a true Dom11 is really rare. Usually you’d see a C7#11 instead. Overall pretty interesting chords though.
I'm so glad this got literally ZERO dislikes, absolutely deserved.
hi could you explain why you can borrow the Ab key to get Dbmaj and Ebmaj in the original key of F? i cant really understand it. thank you
this is better than the tutorials.
Amazing, this answered my question in your main tutorial of showing the chord progression and understanding why the transitions are the way they are!
Why the f is this video not getting viral lmaoooo this is so good and the details are perfect! Subbed.
Thanks :)))
Amazing man.. as always so precise! Merci
I'm late but this is so so so insane, thank you so much!
you are so awesome!!! I love it very much
Please continue making these super nice videos.
Forgive my English ability
Greeting from Taiwan
Thank you very much 🙌🏿🔥
see you in the next one!
Why would you use the Dm scale for the secondary dominant instead of D major?
Also why is it listed as EbMaj7 but when you break it down with the Dm scale you use A7?
Hey! Could you time stamp the parts of the video you’re referring to?
@@musicgreatness9987 Sure you play A7 as the secondary dominant at 6:08 for Dm. Then you talk about EbMaj7 at 7:10. Is EbMaj7 the tritone sub for A7 as the secondary dominant? Just a little confused on it.
@@musicgreatness9987 Also, at 8:39, I don't understand how we know to play D7 as the secondary dominant to Gminor9.. Why wouldn't we play a Dm7?
It's just confusing because it's not in the key of Gminor.... Would that be the case with all dominant7's relating to a minor chord? The Dom7 is usually in the key of the chord it's going to.
I don’t think Ebmaj7/F is a true tritone sub. It would need to be a dominant chord for it to be a true substitution. It’s more like a chord borrowed from Phrygian. It acts similar but without the dom function the pull isn’t quite as strong. I also don’t think I’d call that a C11. There’s no third so it’s more of a C7sus4 chord, which has a similar function to a dim chord. I’d say a true Dom11 is really rare. Usually you’d see a C7#11 instead. Overall pretty interesting chords though.
Dom* not dim