This lesson masterfully bridges the gap between academic music theory and emotional storytelling through the elegant use of secondary dominants. It proves that true musical drama is best achieved through the logical momentum of the circle of fourths rather than superficial effects.
Deep Dive
Prerequisite Knowledge
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Where to go next
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Deep Dive
Wait, is the IV the I???Added:
[music] >> If we're writing a song and we want a big lift at the end, but we don't want to be cliché [music] about it. We don't want to just do a half step or a whole step.
Why don't we learn from one of the greatest [music] who's ever done it, Stevie Wonder?
Stevie will start in C here and he'll gradually work his down with secondary dominance to the sixth [music] chord.
And then another secondary [music] dominant to the four.
We could go back to C, >> [music] >> but we don't.
Why?
Cuz [music] Stevie just lifted it us up a perfect fourth.
That's a big jump.
>> [music] >> Go big or go home.
And he's going to take us down again.
First to the six. [music] And then [music] to the four [singing] of F major, B flat.
But is it the four? [music] No, it's not. We're in the key of B flat. That's another perfect fourth.
We just keep being [music] lifted up.
[singing] The energy just keeps being revved up.
But we're not done.
He's [music] going to do it again.
>> [music] >> Down to the sixth chord.
And then down to the four chord, [music] E flat. But it's not the four, [singing] of course. It's our last key, key of E flat. And we do it one more time and the heavens have [music and singing] opened up and we can see the sun.
And just [music] when you think he's going to do it again, we start heading down to the six, our C minor. [music] This is from [singing] Evil, from Music of My Mind.
We end on a big C major, the exact chord we started on. And that is reason number 1972 why Stevie Wonder's the greatest of all time.
>> [music] >> Happy practicing.
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