Skype lessons for all levels http://www.rdiaz.org/NEWrdiaz-teaching.html#skype-lessons


Ex.1/ 02:52 Em + F#m + G#m + Bbm + Cm + Dm

Ex.2/ 00:01 solo 1
Ex.3/ 01:27 solo 2
*Ex.4/ 07:38 solo 3




A secondary dominant refers to a dominant triad or seventh chord set to resolve to a degree that is not the tonic, with V(7)/V (V[7] of V), the dominant of the dominant, being the most frequently encountered example.[2] The chord a secondary dominant progresses to can be thought of as a briefly tonicized chord; that is the chord that the secondary dominant resolves to, which sounds momentarily like a tonic to the listener. Tonicizations longer than a phrase can be regarded as modulations to a new key (or new tonic).

"The purpose of the secondary dominant is to place emphasis on a chord within the diatonic progression."[3] "Functioning secondary dominants are used when a composer wants to inject a greater feeling of movement into a diatonic progression."[4] The secondary-dominant terminology is still usually applied even if the chord resolution is nonfunctional (for example, the V/ii label is still used even if the V/ii chord is not followed by ii).[5]




Solea and Secondary Dominants for Creative 6
https://youtu.be/u1TGeaoykuw


Bulerias and Secondary dominants 1
https://youtu.be/ONLH-3QSCfY

Bulerias and Secondary dominants 2
https://youtu.be/FQSxUb7IE24

Substitute Dominants 3 in Whole Tone Modulation
https://youtu.be/qZKqFC8YzIQ

Substitute Dominants 4 in Whole Tone Modulation
https://youtu.be/KWr3BYxmaxA

Substitute Dominants 5 in Whole Tone Modulation
https://youtu.be/2tY6of_gimU

Bulerias and Secondary dominants 6
https://youtu.be/e8CmpsX3apQ

Bulerias and Secondary dominants 7
https://youtu.be/Bi4JEq_t6ro

Bulerias and Secondary dominants 8
https://youtu.be/UYK-j_2YYqw