Chords for How to Make ANY Chord Progression Jazzy with Secondary Dominants (ESSENTIAL for GOSPEL)
Tempo:
139 bpm
Chords used:
C
G
F
Am
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey everybody, Jeff Schneider here and in today's video I'm going to show you how to make any chord
progression sound jazzier.
Even the most basic [G] chord progressions that you hear all the time,
we're [E] going to get some spice in there, we're going to make them sound fancier, we're going
[F] to dress them up.
So let's get started with a very basic chord progression.
You've heard this one
[C] before.
[G] [Am] [F]
Let's break that [D] down real [C] quick.
We're in C major, so we have a C major chord to begin with.
That's the I [G] chord.
Going to G major, that's the V [Am] chord.
A minor is the VI [F] chord and then F is the
IV chord.
So the way we're going to make this chord progression sound a lot better is by adding
secondary dominant chords.
So what's a secondary dominant chord?
This is an important term.
First
we have [Gb] to learn what [E] a dominant chord is.
What does that mean?
In order to explain that we have
to talk about what tonic means.
So you have what's called a tonic and dominant [C] relationship.
Let's
say we're in the key of C, we would call C the tonic.
Whatever the key center is, whatever [F] the
I chord is, [C] that's the tonic.
So C major is the tonic and then the dominant chord is the V of
that tonic.
So the V of [E] C [G] is, well let's count [C] up the scale.
C is [Dm] I, D [Em] is II, E is [B] III, F is [G] IV and
G is V.
So G is the dominant.
[N] Now what chord do we get when we build a chord off of that G,
off of that [G] V?
We get a G dominant 7th chord.
So that's why it's called G dominant 7.
[Abm] That's
where the dominant comes from in the [Em] term [B] dominant 7 chord.
So a secondary dominant chord
is going to be what I like to call a temporary V chord, a temporary [Ab] dominant.
So for instance,
if we are going [C] from C to [G] G, what would the V of G be?
That's basically all a secondary dominant
is.
It's the V [Em] of whatever chord that you're going to.
So if we're going to a G [G] major,
what would the V be of G major?
Let's say G is the temporary tonic.
So G is [A] I, [F] A is II, B [C] is III,
[Dm] C is IV and D is V.
So D is [E] going to be the secondary dominant.
But we're not going to stay
in the key of C major [Gb] here.
And by that I mean we're not [Dm] going to play a D minor chord [F] because
F is not in the key of G.
We're going to the key of [Gb] G.
So we have to stay in the key signature
of G.
[Bm] So we have an F sharp.
So we have a D dominant 7 chord.
That's the secondary dominant
of G.
So here it is.
First the basic form, C going to G.
[C]
[G] And now I'm going to add the secondary
dominant of G which is D7 in between these two [C] chords.
[D]
[G] Pretty cool right?
Alright let's keep
going.
This time I want you to tell me what the secondary dominant chord is of our next chord.
[Gb] And remember [C] we're going from [G] C, G [Am] to A minor.
So A minor is our next chord.
What is the secondary
dominant of A [E] minor?
Or rather what is the dominant of A [A] minor?
A is [B] I, B [F] is II, C is [D] III,
D is [A] IV, and E is V.
So we have an [E] E7 chord.
And you should know that the secondary dominant chord
is always going to be a dominant 7th chord.
So you don't have to worry about the chord quality
too much.
You automatically know it's going to be a dominant 7th chord.
[F] But it helps to kind of
break it down and figure out [E] why that is and what the notes [Gb] are in that chord.
Anyway we're going [Am] to
play an A minor.
So what's the V of A minor?
1, 2, [E] 3, 4, 5.
E.
So we have an E7 chord coming before that A minor.
[Am]
[Abm] You can also add extensions to these [E] dominant 7th chords.
And better yet, altered extensions.
And by that I mean, let's say you have that E7 chord.
You can make it an E7b9 chord
[F] and get an even more jazzy like sound.
And then when [Em] we go to the A [Am] minor, we can make that an
A minor 7.
So now we're doing two things to make the chord [N] progression sound even more jazzy.
We're adding the secondary dominant chords as passing chords, but we're also adding some 7s
[F] onto [Am] some of the other chords in this progression.
For instance, instead of just going to A minor,
we're going to A minor 7.
That G right there is the 7.
So let's [Em] regroup here.
We've got [C] the C
going to the [D] D7, and then we're going to go to the [G] G, and then we're going to go to this [E] E7b9,
and then we're going to go to A minor [C] 7.
Now what was the next chord?
Do you remember?
We had
in the original progression, we had [G] C, G, [Am] A [F] minor, F.
So F is our next chord, which is also known as
the IV chord.
And if you have no [Eb] idea what I'm talking about with the numbers, then check out
the video up above [Dm] or down below.
Okay, let's figure out what the secondary dominant chord is
of F.
[F] So let's go up five notes, the F major scale.
[A] One, two, three, [C] four, five.
C is the dominant chord.
So we have a [F]
C7.
Again, we can make this a b9.
That's going to sound even better.
That's going
to sound like [Bb] this.
[F] C7b9 going to F major, and I'm adding the 7 again just to make it even better.
All righty, let's do the whole [C] thing.
C major going to [D] D7, going to [G] G, going to [B] E7b9,
going to A minor [C] 7, and then going to [Bb] C7b9 to F [Am] major 7.
[G]
Okay guys, I'm going to play the chord
progression [N] for you now without talking so you can hear it clearly.
I'm going to do it twice,
the first time without any secondary dominants, and then I'll add them in.
[G] Okay, here we go.
Three,
[C] four.
[G] [Am]
[F]
[C]
[D] [G]
[E] [Am]
[C] [F]
Okay, a lot of possibilities here, and you don't have to do this for every chord.
You can do
it for just, you know, one of them.
Let's say we only want to go to the A minor [Abm] with a secondary
[C] dominant.
That sounds like this.
[G]
[C] [F]
[C] [G]
[E] [Am] [F]
[B] Maybe we just want to use a secondary dominant going to the
IV chord.
That's what [C] this sounds like.
[G]
[Am] [Bb] [F]
It's not a huge difference, but it does [N] add a nice amount of
dressing for your chord progressions.
So guys, let me know what you think about this in the
comments below.
If you have questions, you're welcome to ask.
And if you have any chord
progressions that you come up with that you want to share with the community down there,
definitely do so.
And if you haven't subscribed,
please subscribe.
Thanks for watching, guys.
I'll see you in the next one.
progression sound jazzier.
Even the most basic [G] chord progressions that you hear all the time,
we're [E] going to get some spice in there, we're going to make them sound fancier, we're going
[F] to dress them up.
So let's get started with a very basic chord progression.
You've heard this one
[C] before.
[G] [Am] [F]
Let's break that [D] down real [C] quick.
We're in C major, so we have a C major chord to begin with.
That's the I [G] chord.
Going to G major, that's the V [Am] chord.
A minor is the VI [F] chord and then F is the
IV chord.
So the way we're going to make this chord progression sound a lot better is by adding
secondary dominant chords.
So what's a secondary dominant chord?
This is an important term.
First
we have [Gb] to learn what [E] a dominant chord is.
What does that mean?
In order to explain that we have
to talk about what tonic means.
So you have what's called a tonic and dominant [C] relationship.
Let's
say we're in the key of C, we would call C the tonic.
Whatever the key center is, whatever [F] the
I chord is, [C] that's the tonic.
So C major is the tonic and then the dominant chord is the V of
that tonic.
So the V of [E] C [G] is, well let's count [C] up the scale.
C is [Dm] I, D [Em] is II, E is [B] III, F is [G] IV and
G is V.
So G is the dominant.
[N] Now what chord do we get when we build a chord off of that G,
off of that [G] V?
We get a G dominant 7th chord.
So that's why it's called G dominant 7.
[Abm] That's
where the dominant comes from in the [Em] term [B] dominant 7 chord.
So a secondary dominant chord
is going to be what I like to call a temporary V chord, a temporary [Ab] dominant.
So for instance,
if we are going [C] from C to [G] G, what would the V of G be?
That's basically all a secondary dominant
is.
It's the V [Em] of whatever chord that you're going to.
So if we're going to a G [G] major,
what would the V be of G major?
Let's say G is the temporary tonic.
So G is [A] I, [F] A is II, B [C] is III,
[Dm] C is IV and D is V.
So D is [E] going to be the secondary dominant.
But we're not going to stay
in the key of C major [Gb] here.
And by that I mean we're not [Dm] going to play a D minor chord [F] because
F is not in the key of G.
We're going to the key of [Gb] G.
So we have to stay in the key signature
of G.
[Bm] So we have an F sharp.
So we have a D dominant 7 chord.
That's the secondary dominant
of G.
So here it is.
First the basic form, C going to G.
[C]
[G] And now I'm going to add the secondary
dominant of G which is D7 in between these two [C] chords.
[D]
[G] Pretty cool right?
Alright let's keep
going.
This time I want you to tell me what the secondary dominant chord is of our next chord.
[Gb] And remember [C] we're going from [G] C, G [Am] to A minor.
So A minor is our next chord.
What is the secondary
dominant of A [E] minor?
Or rather what is the dominant of A [A] minor?
A is [B] I, B [F] is II, C is [D] III,
D is [A] IV, and E is V.
So we have an [E] E7 chord.
And you should know that the secondary dominant chord
is always going to be a dominant 7th chord.
So you don't have to worry about the chord quality
too much.
You automatically know it's going to be a dominant 7th chord.
[F] But it helps to kind of
break it down and figure out [E] why that is and what the notes [Gb] are in that chord.
Anyway we're going [Am] to
play an A minor.
So what's the V of A minor?
1, 2, [E] 3, 4, 5.
E.
So we have an E7 chord coming before that A minor.
[Am]
[Abm] You can also add extensions to these [E] dominant 7th chords.
And better yet, altered extensions.
And by that I mean, let's say you have that E7 chord.
You can make it an E7b9 chord
[F] and get an even more jazzy like sound.
And then when [Em] we go to the A [Am] minor, we can make that an
A minor 7.
So now we're doing two things to make the chord [N] progression sound even more jazzy.
We're adding the secondary dominant chords as passing chords, but we're also adding some 7s
[F] onto [Am] some of the other chords in this progression.
For instance, instead of just going to A minor,
we're going to A minor 7.
That G right there is the 7.
So let's [Em] regroup here.
We've got [C] the C
going to the [D] D7, and then we're going to go to the [G] G, and then we're going to go to this [E] E7b9,
and then we're going to go to A minor [C] 7.
Now what was the next chord?
Do you remember?
We had
in the original progression, we had [G] C, G, [Am] A [F] minor, F.
So F is our next chord, which is also known as
the IV chord.
And if you have no [Eb] idea what I'm talking about with the numbers, then check out
the video up above [Dm] or down below.
Okay, let's figure out what the secondary dominant chord is
of F.
[F] So let's go up five notes, the F major scale.
[A] One, two, three, [C] four, five.
C is the dominant chord.
So we have a [F]
C7.
Again, we can make this a b9.
That's going to sound even better.
That's going
to sound like [Bb] this.
[F] C7b9 going to F major, and I'm adding the 7 again just to make it even better.
All righty, let's do the whole [C] thing.
C major going to [D] D7, going to [G] G, going to [B] E7b9,
going to A minor [C] 7, and then going to [Bb] C7b9 to F [Am] major 7.
[G]
Okay guys, I'm going to play the chord
progression [N] for you now without talking so you can hear it clearly.
I'm going to do it twice,
the first time without any secondary dominants, and then I'll add them in.
[G] Okay, here we go.
Three,
[C] four.
[G] [Am]
[F]
[C]
[D] [G]
[E] [Am]
[C] [F]
Okay, a lot of possibilities here, and you don't have to do this for every chord.
You can do
it for just, you know, one of them.
Let's say we only want to go to the A minor [Abm] with a secondary
[C] dominant.
That sounds like this.
[G]
[C] [F]
[C] [G]
[E] [Am] [F]
[B] Maybe we just want to use a secondary dominant going to the
IV chord.
That's what [C] this sounds like.
[G]
[Am] [Bb] [F]
It's not a huge difference, but it does [N] add a nice amount of
dressing for your chord progressions.
So guys, let me know what you think about this in the
comments below.
If you have questions, you're welcome to ask.
And if you have any chord
progressions that you come up with that you want to share with the community down there,
definitely do so.
And if you haven't subscribed,
please subscribe.
Thanks for watching, guys.
I'll see you in the next one.
Key:
C
G
F
Am
E
C
G
F
Hey everybody, Jeff Schneider here and in today's video I'm going to show you how to make any chord
progression sound jazzier.
Even the most basic [G] chord progressions that you hear all the time,
we're [E] going to get some spice in there, we're going to make them sound fancier, we're going
[F] to dress them up.
So let's get started with a very basic chord progression.
You've heard this one
[C] before. _
_ [G] _ _ [Am] _ _ _ [F] _ _
_ Let's break that [D] down real [C] quick.
We're in C major, so we have a C major chord to begin with.
That's the I [G] chord.
Going to G major, that's the V [Am] chord.
_ A minor is the VI [F] chord and then F is the
IV chord.
So the way we're going to make this chord progression sound a lot better is by adding
secondary dominant chords.
So what's a secondary dominant chord?
This is an important term.
First
we have [Gb] to learn what [E] a dominant chord is.
What does that mean?
_ In order to explain that we have
to talk about what tonic means.
So you have what's called a tonic and dominant [C] relationship.
Let's
say we're in the key of C, we would call C the tonic.
Whatever the key center is, whatever [F] the
I chord is, [C] that's the tonic.
_ So C major is the tonic and then the dominant chord is the V of
that tonic.
So the V of [E] C [G] is, well let's count [C] up the scale.
C is [Dm] I, D [Em] is II, E is [B] III, F is [G] IV and
G is V.
So G is the dominant.
[N] Now what chord do we get when we build a chord off of that G,
off of that [G] V?
_ _ _ We get a G dominant 7th chord.
So that's why it's called G dominant 7.
[Abm] That's
where the dominant comes from in the [Em] term [B] dominant 7 chord.
So a secondary dominant chord
is going to be what I like to call a temporary V chord, a temporary [Ab] dominant.
So for instance,
if we are going [C] from C to [G] G, _ _ what would the V of G be?
That's basically all a secondary dominant
is.
It's the V [Em] of whatever chord that you're going to.
So if we're going to a G [G] major,
what would the V be of G major?
Let's say G is the temporary tonic.
So G is [A] I, [F] A is II, B [C] is III,
[Dm] C is IV and D is V. _
So D is [E] going to be the secondary dominant.
But we're not going to stay
in the key of C major [Gb] here.
And by that I mean we're not [Dm] going to play _ a D minor chord [F] _ because
_ F is not in the key of G.
We're going to the key of [Gb] G.
So we have to stay in the key signature
of G.
[Bm] So we have an F sharp.
So we have a D dominant 7 chord.
That's the secondary dominant
of G.
So here it is.
First the basic form, C going to G.
_ [C] _
_ _ [G] _ _ _ And now I'm going to add the secondary
dominant of G which is D7 in between these two [C] chords.
_ _ [D] _ _ _ _
[G] _ _ _ Pretty cool right?
Alright let's keep
going.
This time I want you to tell me what the secondary dominant chord is of our next chord.
[Gb] And remember [C] we're going from [G] C, G [Am] to A minor.
So A minor is our next chord.
What is the secondary
dominant of A [E] minor?
Or rather what is the dominant of A [A] minor? _
A is [B] I, B [F] is II, C is [D] III,
D is [A] IV, and E is V.
_ _ _ So we have an [E] E7 chord. _ _ _ _ _ _ _
_ _ And you should know that the secondary dominant chord
is always going to be a dominant 7th chord.
So you don't have to worry about the chord quality
too much.
You automatically know it's going to be a dominant 7th chord.
[F] But it helps to kind of
break it down and figure out [E] why that is and what the notes [Gb] are in that chord.
Anyway we're going [Am] to
play an A minor.
So what's the V of A minor?
_ 1, 2, [E] 3, 4, 5.
E.
So we have an E7 chord coming before that A minor.
_ _ _ [Am] _ _ _
[Abm] You can also add extensions to these [E] dominant 7th chords.
And better yet, altered extensions.
And by that I mean, let's say you have that E7 chord. _
You can make it an _ _ E7b9 chord
_ [F] and get an even more jazzy like sound.
And then when [Em] we go to the A [Am] minor, we can make that an
A minor 7.
So now we're doing two things to make the chord [N] progression sound even more jazzy.
We're adding the secondary dominant chords as passing chords, but we're also adding some 7s
[F] onto [Am] _ some of the other chords in this progression.
For instance, instead of just going to A minor,
we're going to A minor 7.
That G right there is the 7.
So let's [Em] regroup here.
We've got [C] the C
_ going to the [D] D7, _ and then we're going to go to the [G] G, _ and then we're going to go to this _ [E] E7b9,
_ and then we're going to go to A minor [C] 7. _ _
Now what was the next chord?
Do you remember?
We had
in the original progression, we had [G] C, G, [Am] A [F] minor, F.
So F is our next chord, which is also known as
the IV chord.
And if you have no [Eb] idea what I'm talking about with the numbers, then check out
the video up above [Dm] or down below.
Okay, let's figure out what the secondary dominant chord is
of F.
[F] _ So let's go up five notes, the F major scale.
[A] One, two, three, [C] four, five.
C is the dominant chord.
So we have a [F]
C7.
Again, we can make this a b9.
That's going to sound even better.
That's going
to sound like [Bb] this. _ _ _
[F] C7b9 going to F major, and I'm adding the 7 again just to make it even better.
_ _ All righty, _ _ let's do the whole [C] thing.
C major going to [D] D7, _ going to [G] G, _ going to _ [B] E7b9,
going to A minor [C] 7, _ and then going to [Bb] C7b9 _ to F [Am] major 7.
_ _ _ [G]
Okay guys, I'm going to play the chord
progression [N] for you now without talking so you can hear it clearly.
I'm going to do it twice,
the first time without any secondary dominants, and then I'll add them in.
[G] Okay, here we go.
Three,
[C] four.
_ _ _ _ _ _ _ _
[G] _ _ _ _ _ _ _ [Am] _
_ _ _ _ _ _ _ [F] _
_ _ _ _ _ _ _ [C] _
_ _ _ _ _ [D] _ _ [G] _
_ _ _ _ _ [E] _ _ [Am] _
_ _ _ [C] _ _ _ _ [F] _
_ _ _ Okay, a lot of possibilities here, and you don't have to do this for every chord.
You can do
it for just, you know, one of them.
Let's say we only want to go to the A minor [Abm] with a secondary
[C] dominant.
That sounds like this.
_ _ [G] _
_ [C] _ _ _ _ _ _ [F] _
_ _ _ [C] _ _ _ _ [G] _
_ [E] _ _ [Am] _ _ _ _ [F] _
[B] Maybe we just want to use a secondary dominant going to the
IV chord.
That's what [C] this sounds like.
_ _ _ [G] _ _ _
_ [Am] _ _ _ [Bb] _ [F] _ _ _
_ _ It's not a huge difference, but it does [N] add a nice amount of
dressing for your chord progressions.
So guys, let me know what you think about this in the
comments below.
If you have questions, you're welcome to ask.
And if you have any chord
progressions that you come up with that you want to share with the community down there,
_ definitely do so.
_ And if you haven't subscribed,
please subscribe.
Thanks for watching, guys.
I'll see you in the next one.
progression sound jazzier.
Even the most basic [G] chord progressions that you hear all the time,
we're [E] going to get some spice in there, we're going to make them sound fancier, we're going
[F] to dress them up.
So let's get started with a very basic chord progression.
You've heard this one
[C] before. _
_ [G] _ _ [Am] _ _ _ [F] _ _
_ Let's break that [D] down real [C] quick.
We're in C major, so we have a C major chord to begin with.
That's the I [G] chord.
Going to G major, that's the V [Am] chord.
_ A minor is the VI [F] chord and then F is the
IV chord.
So the way we're going to make this chord progression sound a lot better is by adding
secondary dominant chords.
So what's a secondary dominant chord?
This is an important term.
First
we have [Gb] to learn what [E] a dominant chord is.
What does that mean?
_ In order to explain that we have
to talk about what tonic means.
So you have what's called a tonic and dominant [C] relationship.
Let's
say we're in the key of C, we would call C the tonic.
Whatever the key center is, whatever [F] the
I chord is, [C] that's the tonic.
_ So C major is the tonic and then the dominant chord is the V of
that tonic.
So the V of [E] C [G] is, well let's count [C] up the scale.
C is [Dm] I, D [Em] is II, E is [B] III, F is [G] IV and
G is V.
So G is the dominant.
[N] Now what chord do we get when we build a chord off of that G,
off of that [G] V?
_ _ _ We get a G dominant 7th chord.
So that's why it's called G dominant 7.
[Abm] That's
where the dominant comes from in the [Em] term [B] dominant 7 chord.
So a secondary dominant chord
is going to be what I like to call a temporary V chord, a temporary [Ab] dominant.
So for instance,
if we are going [C] from C to [G] G, _ _ what would the V of G be?
That's basically all a secondary dominant
is.
It's the V [Em] of whatever chord that you're going to.
So if we're going to a G [G] major,
what would the V be of G major?
Let's say G is the temporary tonic.
So G is [A] I, [F] A is II, B [C] is III,
[Dm] C is IV and D is V. _
So D is [E] going to be the secondary dominant.
But we're not going to stay
in the key of C major [Gb] here.
And by that I mean we're not [Dm] going to play _ a D minor chord [F] _ because
_ F is not in the key of G.
We're going to the key of [Gb] G.
So we have to stay in the key signature
of G.
[Bm] So we have an F sharp.
So we have a D dominant 7 chord.
That's the secondary dominant
of G.
So here it is.
First the basic form, C going to G.
_ [C] _
_ _ [G] _ _ _ And now I'm going to add the secondary
dominant of G which is D7 in between these two [C] chords.
_ _ [D] _ _ _ _
[G] _ _ _ Pretty cool right?
Alright let's keep
going.
This time I want you to tell me what the secondary dominant chord is of our next chord.
[Gb] And remember [C] we're going from [G] C, G [Am] to A minor.
So A minor is our next chord.
What is the secondary
dominant of A [E] minor?
Or rather what is the dominant of A [A] minor? _
A is [B] I, B [F] is II, C is [D] III,
D is [A] IV, and E is V.
_ _ _ So we have an [E] E7 chord. _ _ _ _ _ _ _
_ _ And you should know that the secondary dominant chord
is always going to be a dominant 7th chord.
So you don't have to worry about the chord quality
too much.
You automatically know it's going to be a dominant 7th chord.
[F] But it helps to kind of
break it down and figure out [E] why that is and what the notes [Gb] are in that chord.
Anyway we're going [Am] to
play an A minor.
So what's the V of A minor?
_ 1, 2, [E] 3, 4, 5.
E.
So we have an E7 chord coming before that A minor.
_ _ _ [Am] _ _ _
[Abm] You can also add extensions to these [E] dominant 7th chords.
And better yet, altered extensions.
And by that I mean, let's say you have that E7 chord. _
You can make it an _ _ E7b9 chord
_ [F] and get an even more jazzy like sound.
And then when [Em] we go to the A [Am] minor, we can make that an
A minor 7.
So now we're doing two things to make the chord [N] progression sound even more jazzy.
We're adding the secondary dominant chords as passing chords, but we're also adding some 7s
[F] onto [Am] _ some of the other chords in this progression.
For instance, instead of just going to A minor,
we're going to A minor 7.
That G right there is the 7.
So let's [Em] regroup here.
We've got [C] the C
_ going to the [D] D7, _ and then we're going to go to the [G] G, _ and then we're going to go to this _ [E] E7b9,
_ and then we're going to go to A minor [C] 7. _ _
Now what was the next chord?
Do you remember?
We had
in the original progression, we had [G] C, G, [Am] A [F] minor, F.
So F is our next chord, which is also known as
the IV chord.
And if you have no [Eb] idea what I'm talking about with the numbers, then check out
the video up above [Dm] or down below.
Okay, let's figure out what the secondary dominant chord is
of F.
[F] _ So let's go up five notes, the F major scale.
[A] One, two, three, [C] four, five.
C is the dominant chord.
So we have a [F]
C7.
Again, we can make this a b9.
That's going to sound even better.
That's going
to sound like [Bb] this. _ _ _
[F] C7b9 going to F major, and I'm adding the 7 again just to make it even better.
_ _ All righty, _ _ let's do the whole [C] thing.
C major going to [D] D7, _ going to [G] G, _ going to _ [B] E7b9,
going to A minor [C] 7, _ and then going to [Bb] C7b9 _ to F [Am] major 7.
_ _ _ [G]
Okay guys, I'm going to play the chord
progression [N] for you now without talking so you can hear it clearly.
I'm going to do it twice,
the first time without any secondary dominants, and then I'll add them in.
[G] Okay, here we go.
Three,
[C] four.
_ _ _ _ _ _ _ _
[G] _ _ _ _ _ _ _ [Am] _
_ _ _ _ _ _ _ [F] _
_ _ _ _ _ _ _ [C] _
_ _ _ _ _ [D] _ _ [G] _
_ _ _ _ _ [E] _ _ [Am] _
_ _ _ [C] _ _ _ _ [F] _
_ _ _ Okay, a lot of possibilities here, and you don't have to do this for every chord.
You can do
it for just, you know, one of them.
Let's say we only want to go to the A minor [Abm] with a secondary
[C] dominant.
That sounds like this.
_ _ [G] _
_ [C] _ _ _ _ _ _ [F] _
_ _ _ [C] _ _ _ _ [G] _
_ [E] _ _ [Am] _ _ _ _ [F] _
[B] Maybe we just want to use a secondary dominant going to the
IV chord.
That's what [C] this sounds like.
_ _ _ [G] _ _ _
_ [Am] _ _ _ [Bb] _ [F] _ _ _
_ _ It's not a huge difference, but it does [N] add a nice amount of
dressing for your chord progressions.
So guys, let me know what you think about this in the
comments below.
If you have questions, you're welcome to ask.
And if you have any chord
progressions that you come up with that you want to share with the community down there,
_ definitely do so.
_ And if you haven't subscribed,
please subscribe.
Thanks for watching, guys.
I'll see you in the next one.