The Chord That RAISES Eyebrows
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- Опубліковано 14 вер 2023
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Secondary dominants can be very difficult to hear correctly. One of the most common of these very "lifting" sounding chords is the V/vi or the III7. Let's work on some listening and deduction skills to sharpen up the way that your ear and your mind process these chords when you hear them.
Video recorded with
Earthworks SV33 vocal mic
Earthworks PM40 piano mic
Hallet and Davis baby grand piano
Donations to the channel may be sent here: paypal.me/aimn
You know how, every now and then, you come across a video for which UA-cam's solitary "like" button feels woefully inadequate? ......
I feel like I've made two steps forward with your video, Aimee. I can hear what you're talking about and as a bonus, I now understand what musicians are talking about when they say things like the 5 of 6 or whatever. Thank you!
In a sequence like this (C, E7, Am) it's very beautiful to keep the B note in these 3 chords.
I finally know what a secondary dominant is! Thanks Aimee❤
Same! This one clicked.
this lesson was unbelievably valuable to me. There is a special place in heaven for people with your level of teaching, singing and playing. I'm so happy youtube recommend got me here. can't wait for your next videos
I don’t know about that but I thank you :)
Aimee, this is one of your best videos! Ear training is one of the hardest things to practice alone. The way you’ve presented it here is IDEAL! Demonstrating the key notes to listen for and blacking out the keys is SO helpful. ❤❤❤ Thank you for going above and beyond to teach us these skills. Plus your warmth and passion for teaching are a delight.
🔭🦘🐨 someone should do a top ten aimee nolte videos @rickbeato
wow wow! you just explained NY State of Mind. I have always felt Billie was riding a formula. I have noticed this pattern in many other songs. thank you, Amie.. what a revelation just ahead of this hurricane Lee.
This is so much more useful (at least, for the kinds of music I want to make) than the way I was taught music theory back in college.
All I thought while you played it was how gorgeous it sounded!
MERCI (from France)!
You're a treasure Aimee!
Brilliant stuff Aimee!
Thank you Aimee. I learn so much from you.
Great video!
This is helped me connect some dots :)
I've always noticed this sound and viewed it from the perspective of the harmonic minor scale. That when we sharp the 7th (of the minor scale), we steal the major scale's powerful resolution to the tonic which the minor scale lacks. And we get a mix of this emotionally complex tense sound begging for resolution.
This was an aha moment, that what I was talking about is just secondary dominants. Just kind of in a confusing way :)
More of this please! This is real ear training. Why does everyone teach interval and chord identification stripped of any harmonic context? Thinking of a major 2nd as happy birthday and a minor 6th as Black Orpheus has really held me back from recognizing intervals in relation to chords. I like this "flavour recognition" approach much better and it actually works for recognizing chords by ear.
I love using #9 on those III7 as it gives you that crunch using bits of both key centers.
Two songs I can think of where secondary dominants factor in very strongly are Amazing Grace and Georgia on my Mind. It's good to know what these motions actually are called and how they are used. Thanks for this lesson.
Great video! Singing the top notes in different inversions really helps me understand the harmony more thorougly.
"Bell Bottom Blues" by Clapton (C-E7-Am-C7/G-F - going to C7/G carries the contrary motion a step farther). "Creep" by Radiohead (G-B7-C-Cm uses C instead of Em a "deceptive cadence", I believe). Also of interest - your video on the augmented chord as in John Lennon's "(Just Like) Starting Over" because the third of the III7 is the augmented 5th of the I, so so I+ and III7 have a similar sound and function, and the I+ and III+ chords have the same notes. Thanks for teaching me so many things!
Bell Bottom Blues specifically destroys me in the best way
All that critical listening... My brain hurts! haha... Wow, I learned so much. Thank you Aimee!
Awesome stuff Aimee I love these! You ROCK!
I love these kind of ear training videos.
That was so useful and beautifully explained and demonstrated.
I love your singing voice!
Thank you so much for the ear training lesson. I’m hearing it!!
Fantastic.Soloing over this 'kind' of song is a great way of finding out my shortcomings ! Great tutorial 🌟
My favourite song where the V7/vi was used is probably New York State of Mind by Billy Joel. Such a good song
What a lovely voice!
Thank you so much for this Aimee! Secondary dominants have always been kind of a mystery for me. I knew what they are and how they are constructed but didn't understand how they were used. Now I know how to hear them.
This was so fantastic!
as soon as I saw that title I guessed dominant III, instant gratification
The chorus of "You Got It" by Roy Orbinson is the same thing. I love it.
"You sayyyy I'm crazyy"
Great stuff Aimee, these are used all thru the great American song book of popular music!!
So well explained👍
Grazie bellissima lezione ....dall' Italia
Click. Every time I watch one of your videos, something new clicks in. Thanks.
That was truly eye-opening, Aimee. I've been studying Tonal Harmony out of a college text on my own, and I'm just now in the chapter about secondary dominants. I'm understanding the text material but it's all in relation to the common practice period. Your explanation of secondary dominants in relation to songs I've heard all my life really glued it all together, and I have a MUCH better grasp on how to actually HEAR it and apply it to my own writing. Marvelous! It would be great if you could do a follow-up video that explains other ways of getting to the V of vi instead of by way of the I, as you mentioned at 5:38. Thanx for sharing your knowledge!
A minor ii V i to the vi is the next most common if not THE most common I think. Take the seventh bar of moon river for example. This happens a lot. I have a video about choosing altered dominants that talks quite a bit about this but even more in depth
@@AimeeNolte Is there an easy way for me to find the video you mentioned?
@jade8538 with the UA-cam search bar
@@jade8538 probably talking about the one titled "Choosing Dominant Alterations"
watch?v=di1qAhkNP3U
@@fox-school-of-music Thx for that!
Okay I learned something big and new here! A formula! Well presented, too! Thank you Aimee! :)
Beautiful
Nice video. Thank you. 👏🏻
i thought about how they rise it .. used to play "all of me" all the time whe i was busking. love your view on all of this! Coleman Hawkins FTW!
I’ve mostly played by ear in the past, I’ve recently been delving into the theory and the WHY of this, this is an excellent video and very clear explanation of the secondary dominant! Thank you Aimee! 🎶
That’s a beautiful teaching video! Thanks for the patience to explain in so many different ways.
Another famous song that uses III7 is Creep by Radiohead :)
🤓 The following well known songs utilize the I III7 iv I7 progression:
Twilight Time
Only You
Happy Birthday Sweet 16
There's A Kind Of Hush
My Pledge Of Love
Why Can't We Be Friends?
And that's just off the top of my head. Note that both "Sea Of Love" and "Dock Of The Bay" are slight variations, substituting the I7 with a II7.
AMAZING info🔥🔥🔥🔥🔥🔥
Aimee, great lesson and I like how you teach so clearly. I also liked your song examples. This chord progression also brought to mind "(Sittin' On) The Dock of the Bay (Otis Redding/Steve Cropper).
As a youngster, I responded to that little chromatic run G, G#, A in the voice or instruments. Certainly Golden Slumbers. I also really liked Smokey singing 'sad things known to MAN...'
Those undiatonical "extra Fives" thrown in otherwise simple changes made me mad once. Such a great topic choice. Cheers.
Definitely eyebrow raising chords! Thank you Aimee for another very helpful video!
love this video for two reasons 1) i love V/vi so much and 2) i'm a music student so instantly recognizing the chord made me happy my aural training is paying off :D
Amiee is a national treasure and a sign that there is a kind intelligent life on earth
😂thank you
I'm preparing some hymns to play this Sunday, and I see secondary dominants all over the place! If you want to master jazz and pop harmony, start with classical harmony!
Well, they are all of the same birth.
Patsy Cline's Blue, goes from the I to the III-7 then to VI-7. I could be wrong, but I think these progressions have developed from the way guitar players position their fingering, much the way pianists do, say, in locked triads. I once read a transcribed interview of Michael Tilson Thomas wherein he commented that, with many composers, you could sit at the piano and see how their composition developed. But not with Mozart.
ONCE again a very helpful video! Love the Moment you‘re singing „secret“ at the beginning of Golden Slumber, it reminded me instantly of Karen Carpenter…and, at least for a female singer, that can‘t be bad 😉 all the bass-t from kayo
Great stuff! Thanks Aimee! Somehow, in my head, I could imagine Randy Newman playing and singing almost any of those songs lol 🤣
True. Or Nilsson
Thank you for this incredibly useful video, Aimee. You are an excellent teacher. When I read the title of this video, I thought it would be about the minor iv chord, which uses the same accidental (or at least enharmonically same). Maybe you can do another video about that chord?
I want to say that David Bennett already has an excellent video about iv chords. Check and see!
When you played it on piano at about 1:07, it screamed barbershop quartet. Just sayin' 😁
Maybe not quite as striking, but useful and sometimes you just want to do it near the end of a section, is extending the 2-5-1 into ii V iii vi ii V I. I guess the iii would typically go there and it's diatonic and not as striking. But maybe the VI can be used here to make the return to the ii V a little more poignant.
singing sublime? i knew you were an extra cool hip cat
Doesn't On The Sunny Side Of The Street do the same thing with the major III except it resolves to the IV chord? I also notice too that in some songs we're using the minor iii while at other times it's major III as you do here. Would like more discussion on that. It's just that I love the sound of that major III chord, or V of vi as you would properly call it in theory, being a secondary dominant. Definitely raises eyebrows with me.
I thought that was a slash chord... V7 over vi. I was like, "Oh that is kinda interesting huh?"
Makes me think of Pink Floyd's "Nobody home" C E7 F (I III7 IV) which is of course going to the IV and not the vi but the IV shared 2 notes with iv.
I feel like I overused this in my early songs a bit, but it kinda makes them what they are. I'm looking forward to making great music nonetheless, always a sound, I will appreciate (V7/vi).
A lot of songs go from the dominant III to a IV chord, and it works somehow, eg C - E7-F. It shouldn't work according to the traditional circle of fifths thinking, but somehow it sounds very good and very natural.
Yeah! E7’s tritone happens to be the 9 and the #5 of C7 which makes it “not so much of a stretch” for it to act like the V7/IV. Also the B leads right to a C and the E leads right to an F. The 1/2 step relationship always makes for nice voice leading which is reason enough 💙🙌🏼
I didn’t know how to ask how to make my piano make that sound. Thanks.
lindo
Hi Aimee, I'd like to start teaching piano lessons the same as you but for the spanish speaking community. I like your videos a lot. What would you suggest for recording gear and software for editing? thanks!
Check my video called “my live stream setup”
So we can treat any minor chord as the final chord of a perfect cadence. The Passenger by Iggy Pop does this trick with the twist He starts the phrase with an Am chord and ends every phrase on the E-yebrow chord
Creep by Radiohead does this
I know this is counter productive to learning about different song formulas but I tend to like to just think in one continuous “thread” - like in the one example it was like “the 5 of 2 which ends up being the 5 of 5!” I would kinda just consider I’m modulating, kinda… I guess I play based on each chord mostly so no matter what it is I adapt to it… like in A train… when the end of A section the C7 comes in I consider that going to F major? Is that what everybody else thinks or do they think it’s the 5 of 4?
As long as you're working in simple triads, I'm surprised you didn't do the fourth variation which is the movement of the descending Bass notes to get to the vi chord: C - E/B - Am, right?
Yeah, that’s totally another one. I don’t know why I didn’t. Slipped my mind I guess. Good call.
It's similar to combinatorial problems in mathematics. You can try to memorize all possible ways to connect any 2 chords (good luck) or you can know a few simple rules that allow you to connect them optimally in any specific situation. The first way is like writing down every possible combination of elements in a mathematical set and trying to remember each combination. The second way is knowing a simple formula.
👏🏻👏🏻👏🏻🙏
The All of Me example made me pick up my guitar and instantly start playing Nobody loves you when you're down and out. I'm 1'40'' into this video and I already realized something: that I still remember the chords of a song I haven't played in a while and that it uses the III7. 23 minutes to go.
and at 20'20'' there it goes 😄
This one's relatively easy to hear and recognize, compared to some harmonies
yup
this guy’s in love with you 🤠 no im only serious.. 🎹 you are the greatest.. 👍🏻
I'm a beginner on the keyboard, and trying to learn Till There Was You in Eb major. There's one section that baffles me. I don't like the sound, but I don't what the theory is around these chords. It's the section where the lyric is "there were wonderful roses...they tell me." On "they tell me" it moves from the Eb to a C7 (C# melody note followed by a D note) followed by C7#5 (then a Db note to C on Fm7. I cannot make that C7 (with a C#) to C7#5 sound right. What is the chord theory behind these chords in Eb major? Where do they come from? I thought maybe it was somehow related to this video, but now I don't think so.
That’s the V7(b9) of ii that changes to a V7(9) because of the melody note. It’s a very unique example and I don’t particularly like it either for some reason lol
@@AimeeNolte Thank you!!
The secondary dominants. The V⁷ of vi or this term III⁷
It seems a simpler way to say it III⁷
a complicated I III VI is in Mingus's 'Duke Ellington's Sound Of Love.' It has two.The first III is III7alt that resolves VI7alt. The second III is III7 where the melody has a #11 and it doesn't seem to resolve - it just continues with II V I. ua-cam.com/video/cNf7w_-72xg/v-deo.html
Why does playing the Vth degree make us want to then hear the root? Is it something we learn… or is it deeper?
The third and seventh degrees of V chords form a tritone. It’s extremely unstable and wants to pull to the one and three of the tonic
You have a pretty voice Aimee,would like to hear you sing an original tune,I’m fairly sure you have some.
All over Spotify :) Much thanks!
I don’t have Spotify account,but i will try to listen,
McCartney always playing dumb in interviews like he barely knows a chord
Stevie Wonder does this a lot.
For me it's not the "raised eyebrow" but the "stank face" chord. All guitar players will understand.
III7 to me mean trying to give a Blues sound to the tune. So you're talking about tunes that minors are converted to dominants, not playing a tune and adding V7 of to add some more motion to the chords.
I get what you're doing Aimee, but don't recognize most of the songs you're using. Generation gap I guess.😅 Also when it comes to singing I can't carry a tune in a bucket. Not being able to recall a melody often stymies me in chord structure.
Tennesse waltz and waltzing Matilda I thought would bridge us. 😂🙌🏼
How exactly do you construct the dominant seventh? Is always the same (in terms of whole step half steps) or does it depend on the key?
My nebula class might be super helpful to you. Everything I Know About Chords (parts one and two) go.nebula.tv/aimeenolte
Noob question. At 6:35 Aimee says the D# comes from the 5 of Em.... I don't understand how. Can someone explain ?
The E harmonic minor scale ;)
Another way to put it would be that the D# is in B7, which is the V7 of Em.