1
00:00:05,140 --> 00:00:08,640
So, we found seven triads that we can
derive from the major scale.

2
00:00:08,640 --> 00:00:11,700
We're now going to focus on the three
major ones.

3
00:00:11,700 --> 00:00:12,601
That was the C-Major,

4
00:00:12,601 --> 00:00:13,598
[MUSIC]

5
00:00:13,598 --> 00:00:14,568
The F-Major,

6
00:00:14,568 --> 00:00:15,256
[MUSIC]

7
00:00:15,256 --> 00:00:16,316
And the G-Major,.

8
00:00:16,316 --> 00:00:17,626
[MUSIC]

9
00:00:17,626 --> 00:00:19,758
These ones are important.

10
00:00:19,758 --> 00:00:23,474
They've become important through time in a
Common Practice classical music,

11
00:00:23,474 --> 00:00:25,850
and also in a lot of Jazz and Pop, and
Rock.

12
00:00:25,850 --> 00:00:27,460
And, Folk music as well in fact.

13
00:00:27,460 --> 00:00:29,860
It's sometimes referred to as the Three
Chord Trick.

14
00:00:29,860 --> 00:00:32,620
I'll start off by giving them their formal
name.

15
00:00:32,620 --> 00:00:34,000
So the C-Major chord.

16
00:00:34,000 --> 00:00:34,859
[MUSIC]

17
00:00:34,859 --> 00:00:37,542
Built on the tonic is the Tonic triad.

18
00:00:37,542 --> 00:00:39,058
[MUSIC]

19
00:00:39,058 --> 00:00:43,096
The G-Major one, built on the fifth
degree, is the Dominant.

20
00:00:43,096 --> 00:00:44,416
[MUSIC]

21
00:00:44,416 --> 00:00:47,035
And that refers to its importance in that
name.

22
00:00:47,035 --> 00:00:48,425
The F-Major,

23
00:00:48,425 --> 00:00:49,533
[MUSIC]

24
00:00:49,533 --> 00:00:53,000
Is the Subdominant, one underneath the
dominant.

25
00:00:53,000 --> 00:00:53,500
And there they are written out for you.

26
00:00:56,100 --> 00:00:57,540
And as lead sheet notation.

27
00:00:59,430 --> 00:01:05,700
Now, when we're harmonizing a melody, in
the kind of music that we're talking about

28
00:01:05,700 --> 00:01:13,470
here, it's normal to have the melodic note
be a member of a chord that's backing it.

29
00:01:13,470 --> 00:01:13,890
Okay?

30
00:01:13,890 --> 00:01:16,400
Not so much as we move into Jazz and

31
00:01:16,400 --> 00:01:19,360
19th century classical music, or Rock in
the 70s.

32
00:01:19,360 --> 00:01:21,670
But on the whole, we can expect to

33
00:01:21,670 --> 00:01:25,840
hear a strong melody note existing inside
its chord.

34
00:01:25,840 --> 00:01:29,904
So, in other words, if I want my melody
note to be a C.

35
00:01:29,904 --> 00:01:30,529
[MUSIC]

36
00:01:30,529 --> 00:01:32,123
In the key of C major then it's a good

37
00:01:32,123 --> 00:01:34,471
chance I am going to have a C-Major chord
underneath it

38
00:01:34,471 --> 00:01:36,347
[MUSIC]

39
00:01:36,347 --> 00:01:38,287
Or maybe the F-Major chord

40
00:01:38,287 --> 00:01:39,289
[MUSIC]

41
00:01:39,289 --> 00:01:41,900
Because that also has a C in it.

42
00:01:41,900 --> 00:01:44,431
And so what we are going to do now is we
are going to look at the

43
00:01:44,431 --> 00:01:48,225
major scale and see how each note can be
harmonized by one of these three chords.

44
00:01:48,225 --> 00:01:50,457
So again, starting with my opening example
C

45
00:01:50,457 --> 00:01:51,859
[Plays C]

46
00:01:51,859 --> 00:01:54,724
With a C-Major chord or with an F-Major
chord

47
00:01:54,724 --> 00:01:56,654
[Plays chords]

48
00:01:56,654 --> 00:01:58,628
Now we move up to the note D the second
note.

49
00:01:58,628 --> 00:01:59,890
[Plays D]

50
00:01:59,890 --> 00:02:03,464
And the only triad out of our three that
has this is the G-Major triad.

51
00:02:03,464 --> 00:02:05,028
[Chord]

52
00:02:05,028 --> 00:02:06,685
So we're going to harmonize it with the
dominant.

53
00:02:06,685 --> 00:02:07,451
[Chord]

54
00:02:07,451 --> 00:02:13,171
The next one, next note is E, and that
exists in the tonic triad, in the C-Major.

55
00:02:13,171 --> 00:02:15,454
[Plays E]

56
00:02:15,454 --> 00:02:20,245
The next note in the scale is F, and that
exists in the F-Major, the sub dominant.

57
00:02:20,245 --> 00:02:23,138
[Plays F]

58
00:02:23,138 --> 00:02:25,108
When we get back up to the G.

59
00:02:25,108 --> 00:02:27,485
Again we can have a G-Major chord with
it, the dominant

60
00:02:27,485 --> 00:02:28,778
[MUSIC]

61
00:02:28,778 --> 00:02:30,485
Or we can have the C-Major called with it,

62
00:02:30,485 --> 00:02:35,268
[MUSIC]

63
00:02:35,268 --> 00:02:38,948
When we get to the A, this lives inside
the F-Major chord,

64
00:02:38,948 --> 00:02:42,249
[MUSIC]

65
00:02:42,249 --> 00:02:47,033
Up to the B, and the chord that has that
inside it is only the G-Major chord, so.

66
00:02:47,033 --> 00:02:49,015
[MUSIC].

67
00:02:49,015 --> 00:02:52,284
And then when we get back to C again, we
can finish on the C tonic.

68
00:02:52,284 --> 00:02:53,532
[MUSIC]

69
00:02:53,532 --> 00:02:54,656
We could also play the F-Major,.

70
00:02:54,656 --> 00:02:55,614
[MUSIC]

71
00:02:55,614 --> 00:02:58,552
But I think you'll hear that most likely
our piece of music will finish

72
00:02:58,552 --> 00:02:59,249
[MUSIC]

73
00:02:59,249 --> 00:03:00,954
From the B.

74
00:03:00,954 --> 00:03:01,004
[MUSIC]

75
00:03:01,004 --> 00:03:05,725
With the G to the C, with the tonic chord.

76
00:03:05,725 --> 00:03:07,091
Again, this is really something you just
have

77
00:03:07,091 --> 00:03:08,360
to sit down and play through for yourself.

78
00:03:08,360 --> 00:03:10,160
But you'll see that it totally works.

79
00:03:10,160 --> 00:03:13,640
And with those three chords, you could
write a hit.

80
00:03:13,640 --> 00:03:16,100
Who knows, there's been quite a few like
it.

81
00:03:16,100 --> 00:03:18,591
Now, - just hearing these three chords
in a

82
00:03:18,591 --> 00:03:22,028
slightly different context, I could make
them sound like this.

83
00:03:22,028 --> 00:03:30,137
[Chords sounding Classical]

84
00:03:30,137 --> 00:03:31,354
Or, they can sound like this.

85
00:03:31,354 --> 00:03:36,815
[Chords sounding Rock 'n Roll]

86
00:03:36,815 --> 00:03:41,171
So you can see, and you probably recognize
both of those "sounds" that come from that.

87
00:03:41,171 --> 00:03:43,610
So that is your three chord trick.

88
00:03:43,610 --> 00:03:44,500
Your tonic.

89
00:03:44,500 --> 00:03:45,170
Your dominant.

90
00:03:45,170 --> 00:03:46,560
Your subdominant.

91
00:03:46,560 --> 00:03:49,930
And that's going to become more important
in the coming lectures,

92
00:03:49,930 --> 00:03:54,840
especially in the later lectures in,
series four and five.

93
00:03:54,840 --> 00:03:57,360
But for now, I just want to leave you 

94
00:03:57,360 --> 00:04:00,410
with the fact that with the set of white
notes,

95
00:04:00,410 --> 00:04:03,520
confining ourselves to just, white notes
of the piano and

96
00:04:03,520 --> 00:04:06,970
C major scale, we found three different
kinds of triads.

97
00:04:06,970 --> 00:04:09,445
We found all sorts of internal
relationships which

98
00:04:09,445 --> 00:04:11,868
already give us the possibility of making
music.

99
00:04:11,868 --> 00:04:17,018
[BLANK_AUDIO]