Skype lessons for all levels http://www.rdiaz.org/NEWrdiaz-teaching.html#skype-lessons
Ex.1/ 02:44 Em + F#m + G#m + Bbm
Ex.2/ 07:52 Em + F#m + G#m + Bbm + Cm
*Ex.3/ 00:53 solo 2
(dissonant land note on 11# of the V7b9 followed by landing on the 5th of the V7b9 and on next round solve to main landing note which is the tonic of the V7b9)
Ex.4/ 00:01 solo 1
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
.....
Bulerias & Secondary Dominants n.7
https://youtu.be/Bi4JEq_t6ro?t=53s
