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Learn to play blues guitar.

Secondary Dominant Chords – What They Are And How To Use Them – Guitar Lesson EP370

Description

In this week’s guitar lesson, you’ll learn what secondary dominant chords are and how they can be used when writing chord arrangements or when improvising lead. I’ll also show you how to easily identify them by connecting them to basic chord shapes that you already know.

Part 1 - Free Guitar Lesson

Part 2 - For Premium Members

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Slow Walk-Through

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Video Tablature Breakdown

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Comments

    • Tom C says

      Brian, ive been doing lessons now for about 4 years and I keep thinking that Im ready to take on a lesson like this. . . Im familiar with the boxes and the barre chord shapes and a few of the triads. . . .and yet im not confident that I can remember all the sequences and riffs etc. . . . .by the time i get into lesson 2, I forget lesson one!
      I keep thinking ill get it . . .and yet I dont. . . .makes me sad. . ..

  5. justin N says

    Hey Brian, you’ve always done a great job breaking everything down but I really feel like you’ve crossed a threshold and are really finding your groove finding ways of making this all make sense theory wise.
    Awesome composition to learn once again too. Thanks man! Cheers!

  7. Anthony L says

    i mostly play acoustic (and haven’t spent much time on pedals or effects when i do switch to electric), but i really love this sound. any suggestions on how to get that subtle, organ-like shimmer?

  8. LoboGator says

    Always look forward to Fridays so I can dig into another great lesson. Been going back through all the lessons during the past couple of months and picking up things I had either forgotten or not learned well at the time. I’m 76 and in a classic rock band with bunch of “old guys” and you have been a tremendous influence for me. Thanks so much!

  11. San Luis Rey says

    Nice lesson with that secondary dominant theory . I think we have played those progressions before but this is a great example of where those chords come from. Really good explanation of tension and release when going from the 5th to the 1st.

  13. Billy Ray S says

    Very refreshing .. Even though I enjoy and gain something from your lead lessons in many different styles to which you’re doing a great job .. This a very cool and needed lesson .. Thanks Brian and hope all is well my friend

  15. Bill9352 says

    Ditto all of the above. (I also thought about the Clapton Guitar recently.)
    But the SHIRT! Cool logo. What is it? Is it commercially available?
    (A guitar shirt that’s not black! How innovative!)

    Bill

  16. Gary R says

    Brian. Is this elements of wild horses and, more obscurely, ‘ if you really want to be my friend’ ? Stones songs. Same chord structure building blocks, seems to me. G, Bm7, E7, C variation?

  17. itaylor says

    That has to be one of the most useful 30-minute spells I’ve spent on youtube. I’ve been playing things like this for years and never understood how they worked. Thanks a lot for covering it, Brian.

  18. Walter D says

    Brian, you are on a streak of what I call “practical geekiness”. Just the right mix of theory and application that not only promises to improve my guitar playing, but my appreciation of music in general. Very powerful.

  19. charjo says

    Amazing Brian, just what the doctor ordered! I already knew about secondary dominants but your take is always refreshing and informative. Using the secondary dominant in lead playing was a concept I had never considered before and can’t wait to explore. Even little asides take me by surprise, like considering what open strings might be available in any given key for lead playing. Always something new. Please consider what other rhythm lessons might be helpful. Thanks for all you do.
    John

  20. Todd F says

    Cool lesson, all brand new to me…
    one question for you is, since the secondary dominant 5th is outside of the primary key, are there rules/guidelines for how much to use it? In the same vein, does it always resolve to its I chord or can it resolve the a different chord in the primary key?
    Anyway, thanks again
    -Todd

    • Brian says

      The secondary dominant chord typically resolved on its one chord – otherwise it wouldn’t be referred to as a secondary dominant.. You can try it and hear what it sounds like when it resolves to another chord – usually it will just sound out of place. That said, if something sounds good to you, then it’s right 🙂

      • michael f says

        Brian,
        To Todd’s point, when you went to the E7 the second time around, weren’t you playing the secondary dominant of the A7 to get back to the five chord-D7?? The secondary dominant of the secondary dominant so to speak?

  23. Darrell Arnold says

    This is an awesome lesson, one that will really help me with compositions. Part 2 did throw a lot of material at us, which I found easy enough to follow. But it would be helpful, at least for me, to have a repetition of the piece at the end, or even a repetition of the first chunk of material about halfway through Part 2. Thanks for this, though. I’ve been signed up on this site for somewhere between six months and a year and find that you’re really helping me with my progress. I’ve spent time with a lot of video tutorials. You’re a very gifted guitar teacher, hitting things for me at just the right pace and with great explanations. Thanks!

  24. Jay Guitarman says

    Hi Brian,
    Thanks for this prime lesson on secondary dominants. I remember another lesson of yours where you also include the minor second chord before the dominant secondary chord before finally going to the chord you are aiming at… I especially appreciated the melodic lead playing example in the first video. Anyway, a lot of ideas to work on and to incorporate…

  25. Roger B says

    High Brian. I notice your little dog is very interested in this lesson as he’s looking at you intently rather than listening to “His masters Voice” on the gramophone. Obviously a very discerning musician!

  26. Mike R says

    Great lesson on how to add color to a progression. I don’t know if you have ever done a lesson on the circle of 4ths or 5ths but I think it might be a good way for others to memorize how these secondary dominates are derived. I have found it extremely helpful to play your CAGED system of chords, including major, minor and dominate seventh’s around the circle of 4th’s in all three positions recommended. Now it’s even easier to find these secondary dominates. Your the best teacher Brian I have ever found for guitar. Just keep being you!

  30. James S says

    Super helpful lesson! This is what I was getting at in a recent comment – when introducing new concepts, it’s really helpful to have an easy, familiar chord progression.

    Thanks, Brian!

  33. Laurel C says

    This was an eye opener. The breakdown of a concept that could have been made complex but taught in a simplified way with knowledge and understanding. Another asset to add to the guitar vocabulary. Remembered having the print out of Dominant 7 chord triads from EP362, and EP150 and EP205 also mention dominant chords but just saw it as a name. So there are Primary and Secondary Dominant Chords. The Primary being the 5 chord to the key of the song (D7 to G). Secondary being the 5 chord of any of the chord family within the song (e.g. B7 to Em, G7 to C and A7 to D7) … Won’t be over looking dominant chords now. Such a nice arrangement too with a sophisticated laid back sound.

  34. peter v says

    Hi Brian,
    thanks for this lesson.I learnd to understand something I always used in my playing.Now I know why.I also changed the whole thing to key C in a fingerpicking style and what a surprise:it reminds me on Blind Blake,who also knew how to use Secondary Dominant Cords.

  37. Keith S says

    Great lessons Brian! Looked all over the web and find yours about one of the best! Straightforward and you’re easy to understand,! You seem very sincere and don’t try to cram too much into a lesson. Recommended AM to others. Premium Membership a real value. Thx!

  38. Sal says

    Brian,
    When I strum the E maj,then go to theB7th,it sounds like the beginning of “Dreams Are Made Of This”-Dean Martin! An oldie but goodie!I guess I’m showing my age! lol….Sal

  39. Howard L says

    Hi Brian. Thank you for your incredible “guitar side manner”. You manage to take somewhat “mysterious concepts”, in this case secondary dominants, and explain them to the point that they actually stick with you. I always look forward to new lesson Friday’s. I ALWAYS learn something.

  40. Tremelow says

    Fantastic lesson Brian. It is opening a new door for me and I can see that it is going to be very useful for my own compositions and also for better understanding other songs. Can’t wait to explore this new subject.

  43. Cardo says

    I enjoyed the lesson as I’d never heard the term “secondary dominant chord”. It took me a bit to get my head wrapped around it and then it seemed obvious – the five chord (played as a dominant seventh) of the chord you are going to, used as a passing chord. I think it was all your explanations for how to find it that threw me at first. I really liked the fill licks and notes as a easy way to play a simple “lead” along with the rhythm – something I struggle with. The addition of the harmonized sixths was nice too – I always love the way those embellish a piece and I no longer am mystified as to where to find them.

  44. bob e says

    Hi Brian
    Hope you are well in these crazy times. Love these theory lessons and I have my head around the fact that a secondary dominant is the 5th of the chord but am I right in assuming that you can also make the minor of the diatonic scale a dominant as well. I’m thinking of something like ” nobody knows you when you’re down and out” which goes from C to E7 which is NOT in the scale.

    Look forward to your comments

    Cheers
    Bob (from England)

  45. wrightclick says

    I have only watched part one at the mo what great insight into chord progressions , when you pick a guitar up you wonder what the hell you are going to do with it .This is a great way to practice around even better if you have a looper lay a short progression down play back and noodle . How did they get by in the old days we have it so easy with instant play back . Good lesson Brian S

  46. mark g says

    Hi Brian
    I was just wondering if you can use the G minor penitonic scale over all chords? I feel like the G major pen sounds better. Just wondering if there is a scale that will sound good over all the chords. Thanks and I really enjoy your lessons, you are a great teacher and I learn so much from you. Thanks again.

  47. bruce s says

    Brian, awesome lesson. These secondary dominants are crucial to know and you did a great job explaining them. How about a follow-up lesson on this with some lead runs with secondary dominant notes over the chords, that would be way COOL….

  49. mikepcse says

    Another great lesson. I seldom am able to play everything in the lessons (finger limitations), buuuttt (my grandson’s teacher says she likes big buts) I always learn something I can play and use in the music that I do play. My fingers are not long enough and do not bend well enough to play everything you show. This, adding secondary dominant cords I can play and sounds great. Adding new stuff I can play. Thanks.

  50. Michael P says

    Hey sweet lesson, it cleared a bunch of confusion for me. I’m having a ball playing improv with the new ideas. I haven’t made any comments yet so I figured I’d let you know what I’d like to see: Some more country-ish stuff. Something like a fast chickin pickin run or how to do Jerry Reed sounding stuff would be amazing.

  52. Jon B says

    Using these secondary sevenths makes me sound like I really know what I’m doing! Unfortunately, knowing the secret to the magic trick takes away the “wow factor”. Nevertheless, keep them weekly “magic secrets” coming.

  54. Barry W says

    Brian,
    This lesson is what inspired me to join as a premium member. I am a singer and rhythm guitar player in a blues band and during this downtime am learning to use more chord substitutions in my playing. I have been learning some Django rhythm guitar parts (“All of Me” is a good example) but it would be very helpful to learn theory and hints from you. I’d love to see theory lessons on using diminished, dominate, major 6th, dominate 7th, etc. chords as substitutions. Please keep these kind of lessons coming!

  57. Ian B says

    As a first time premium member I realize the benefits. A great lesson!! Having arthritis the open G chord is posing a problem because of this I favor the bar chord. Is this ok?

  58. Ryan S says

    Hi Brian,
    This was a killer lesson. I have been wanting to learn how to do this for so long, but could never seem to understand how it worked. As always you knew how to explain it in a way I can understand. , you’re a great teacher.

    Thanks

    Ryan

  60. David488 says

    I have to admit when I saw the title to this lesson I thought, “geez, where is Brian going with this one…..snoozer!” You got me turned around in no time—excellent lesson, love the added sophistication of the chord structure—thanks Brian. I’ll bet you’re still thrilled you bought that guitar.

  61. Steve P says

    Hello Brian,
    How nice it would be for me for you to mention the guitar your playing at each lesson..
    Have been watching your lessons for several years.
    Excellent job.
    Steve P
    SC

  62. Steve P says

    Hello Brian,
    How nice it would be for me for you to mention the guitar your playing at each lesson..
    Have been watching your lessons for several years.
    Excellent job.
    Steve P
    South Carolina

  66. Kurt S says

    Just to make sure I understand – when playing the secondary dominant we should disregard the family of chords from the original key. For example, video Part 1, 9:30 min, the progression was from G to B7 to Em. B minor is in the key of G family of chords and not B7 but that doesn’t matter. Just play the dominant 7th and forget major, minor, diminished etc. Thanks!

  69. Les Brown says

    I randomly ran across a secondary dominant lesson on YouTube a couple of weeks ago, so I had a basic understanding of where they came from. But because you make every lesson into an amazing composition, I now understand how to use them and derive fills in between. Seriously, THAT’s priceless. Every lesson leads me into some dark corner of music theory and turns on the light so I can see how the trees relate to the forest.

    I don’t know any other online teacher who does that. Having been an elementary teacher for 31 years, and reading the comments above, I see the changes you make in your students’ lives, one lesson at a time. So when I say it’s priceless, I’m not exaggerating. You leave a wonderful legacy.

  71. bobbmdmd says

    Nicely done, Had studied secondary dominant chords years ago so this was a great refresher. The lesson was articulate, easy to follow and provides a lot of examples on how to apply the theories.

  72. Geof C says

    There are elements of this lesson that remind me of Grateful Dead’s “Stella Blue.” I don’t know much about music theory, but I found a person who attempted to articulate what he liked about that Dead tune. Perhaps it is articulating aspects of what this lesson is about. I’m not sure, but –again– there’s something to my ear that has “Stella Blue” at work in it. ::::: [On Stella Blue”] “Best of all, it’s absolutely gorgeous harmonically. After a brief descending intro, it finds its way to E major, which after the first line of the verse slides down to a delicate Emaj7, then to A7sus4 and A, with Jerry Garcia’s vocal melody reinforcing the high G at the top of that unstable A7sus4. Then something beautiful happens: it slips into the parallel minor and, instead of the expected E major, we get E minor, C7 and B7, with the vocal melody once again singing that strong seventh (B flat) in the C7 chord – appropriately enough on the line “a broken angel sings from a guitar”.

  74. mritalian says

    Finally got to this lesson this week. Late to class student. Light bulbs all lite up for me. Thanks I see what you mean about writing your own music, I need to get back to the woodshed and watch how you improvised this song in the first part at the end, I thought that was golden. I’m finally seeing all the different ways you can begin to think about the fretboard. Thanks Brian

  75. Steve M says

    Wow, I’ve been a paid member for about 24 hours now and I’m already glad I joined. This sounds amazing even on my acoustic. It’s not just the “play this chord, then play this chord…” that’s so helpful (though it is helpful), it’s the little embellishments that I wouldn’t have picked up on. Example, transitioning from B7 to Em, hitting the 1 string first before the full Em strum. Sounds amazing, it’s easy, and it adds a really nice touch. I also love the little double hammer-on run into the B7. I’ve been playing around with different runs and transitions into B7 this weekend, and that one works really well. I already feel like I’m a better guitar player.

  76. Joseph A says

    Ha, one great lesson Brian, I’ve been confused with tension and release, this helps a ton. dominant primary chords, dominant secondary chords and arpeggio rhythms, secrets brought to light. these are the things that help in understanding. Once I get the caged system down better, my music will improve, thanks for the great lesson, Brian

  77. Anthony P says

    I enjoy these songs, Brian. Fun to play. I use your site alot. Say, is there a way to down
    load the sheets at the bottom? I would like to have a hard copy to follow if possible. Please let me know.

    thanks

    Anthony

  79. Dan S says

    I keep coming back to this lesson. Trying it in different keys, etc etc. The styling of so many great guitarists use these chords and the diminished 7th chords. I’ve played for decades and never really got a grip on this sound. Repetition will get me there. Truly an amazing lesson and one everyone needs to master and understand and use instinctively. Maybe understanding is more important than mastering. The mastering will come with time and practice. Throw those cowboy chords out and master this style and you’ll be amazed at the avenues it will open.
    Thanks

  81. Andrew R says

    Hello Brian
    Sounds nice but I got thrown by the 4th bar, a D7 chord then something like G6 arpegio played over D7 chord. I am trying to understand what makes a phrase fit over a particular chord but this seems to break the ‘rules’ as far as I understand as that 4th bar apart from the 1st D7 beat doesn’t contain any more notes from D7.
    It sounds great and I suppose it works because its an un expected premature return to the G tonal center?
    Do you have any lessons on the real basics of creating a phrase to fit a chord? Thanks.

  82. John P says

    ok , I’m following the how you find the Secondary Dominant using the E shape and the A shape. But what I need help on is understanding the arrangement. G is the key and the tonic , how did we get to B7, I thought we would be at D7?

  84. Gabriel K says

    BRILLIANT. Why didn’t anyone tell me this before — how to find the secondary dominant. I feel like someone just let me in on a well-kept secret. The quick trick to find the note works for me.

  85. Curtis H says

    What model of Gibson, a Byrd land? Also I’m hearing a tremolo? Are you use an amp or pedal for it, also your a good teacher and I’m enjoying learning very much, I started when I was 12/13 in 1965 And I’m self taught, much what your teaching I’ve discovered ny accident learning from records, but your an enlightenment that will bring new clarity to my playing improving my style. Thanks Very much Dean Hammond

  88. Chris D says

    Great Lesson! Would it be possible to go into a deeper dive for soloing with secondary dominant chords? The short demo at the end of the lesson was great, just want to know what was played there. Maybe a future lesson or something on this would be helpful. Thanks!

  89. Andrew S says

    What’s the relationship between the secondary dominant and the diminished/7 chord in a key? The 7 diminished chord of a key has the same “pulling” effect to the tonic of the key that the secondary dominant does. Why is that? So for the key of G I can substitute the 7 chord (F# dim) for the secondary dominant (D7) and it seems to work in most progressions.

  93. AnnieC says

    Thanks Brian,

    I’m hoping to do a special playlist on my channel of my progress with your course. This has helped me tremendously to get where I was trying to map out my new compositions, and direction. I’m really energized to play and record something based off of this lesson so thank you again. Total value for the money. 😉
    Blessings as always,
    Annie 🙂

  97. Frank X says

    Part 2 around 11:40 – sure I’ll figure it out eventually but I’m trying to get the picking you’re doing – it’s probably something that’s so ingrained you have to think about it to explain it – cheers

  99. John C. says

    Skipped past this once but have just gone back to it and it makes so much more sense now and I can see and understand the usefulness of secondary dominants now … and the tune is good too even if I just add it to my unaccompanied repertoire! I really like how you use these relatively simple, but good to play on their own merits, tunes to demonstrate, illustrate and explain the theory concepts.

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