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Masterclass Posted Nov 21, 2023

Secondary Dominants

Jack Ruch Verified Artist @jack

About this masterclass

In this guitar masterclass, Jack Ruch teaches about secondary dominant chords. He begins by explaining diatonic chords and how chords are built from scales. He then introduces the concept of secondary dominant chords, which use dominant chords to resolve to non-diatonic chords in a progression. Jack demonstrates this concept with examples in the key of C.

Jack then takes questions from students like Michael and Rob. Michael asks about using secondary dominant chords just before resolving, and Rob asks where secondary dominant chords are typically borrowed from. Jack provides clear explanations of how secondary dominant chords function and where the concept is derived from. He emphasizes how these chords add tension that wants to resolve.

To conclude, Jack demonstrates how to navigate chord progressions using arpeggios. He shows how to target chord tones from one chord to the next by connecting arpeggio shapes across the fretboard. Jack stresses the importance of understanding secondary dominant chords and being able to hear and apply them when learning songs and solos.

Transcript

AI summary

Introduction (0:00-2:57)

  • Jack introduces the lesson topic of secondary dominant chords
  • He plays a chord progression example using secondary dominants
  • The progression builds tension and resolution

Diatonic chords and chord construction (2:57-6:39)

  • Jack reviews how chords are built from scales by skipping notes
  • He explains building major, minor, seventh, ninth chords etc.
  • The key of C major scale and chords are used as an example

Secondary dominant chords (6:39-16:40)

  • Secondary dominants are explained as using dominant chords to resolve to non-diatonic chords
  • Examples are given in the key of C major to resolve to Dm, Em, F etc.
  • These added tensions make progressions more interesting

Questions (16:40-27:44)

  • Michael asks about placing secondary dominants just before resolving
  • Rob asks where secondary dominants are typically borrowed from
  • Jack provides clear explanations of their functions and origins

Navigating progressions (27:44-51:02)

  • Jack demonstrates connecting arpeggios across the fretboard
  • Targeting chord tones is emphasized for smooth voice leading
  • Arpeggios provide a framework for soloing over changes
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