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In lecture two, Zack and I described the
concept of keys and key signatures.

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You'll remember that when we travel
through the octave using

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scales, we get distinctive internal
patterns of intervals that arise.

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And you'll remember the major scale has
that distinctive

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pattern of tone, tone, semitone, tone,
tone, tone, semitone.

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>> And you remember us talking about key
signatures and

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saying that they're a way for us to signal
right

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in the very start of a piece of music,
what

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sharps and what flats we're going to have
in any given key.

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This came from the idea that some scales
were built up, and we needed to

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use some sharps and some flats when we
were using a tonic that wasn't C.

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So, this then allows us to use any one of
our pitch

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classes, and that is any one of the 12
note names as

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our tonic, so that we can build patterns
of tones and semitones

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or scales, or melodies or chords in any of
these given keys.

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Now, it'll help you, when you're trying to
become fluent in reading

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and writing music, to try and get these
memorized as much as possible.

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If you look back at week two, there are
some tips

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and mnemonic devices for how to actually
go about doing this.

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>> Okay so, at the start of this lecture,
we were looking

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at triads, and we were looking at
perceptual effect of those note groupings.

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So that one, just one of the notes that
was there, was the more important one, was

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the one we can use to identify that triad,
had that overarching label for that triad.

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Well, within a key, the relationships
between and

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within those triads and how we use them
can

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also contribute to that overarching sense
of tonality,

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by which we mean the quality of the key.

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>> So we've been using words like harmony and
harmonic structure.

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And these are words and phrases that you
hear when we're talking about music often.

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What do I actually mean by these phrases?

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Now is a probably a good time to actually

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think a wee bit more precisely about we're
saying.

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>> Yeah.

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Well, harmony describes the effect of

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those triads that we've been talking
about.

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And the relationships and the patterns
between the

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triads when we use them in a key.

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Key and harmonic structure, or key and
harmony, are the two

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most important building blocks for music
that sits in a tonal tradition.

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So to explain this more, I'm now going to
sing you a familiar

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tune; you can follow the melody on the
stave notation on the screen.

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Instead of using the words that you'll be
familiar with, I'm

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just going to use the scale degree numbers
when I'm singing.

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[MUSIC]

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One, one, five, five, six, six, five.

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Four, four, three, three, two, two, one.

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Five, five, four, four, three, three, two.

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Five, five, four, four, three, three, two.

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One, one, five, five, six, six five.

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Four, four, three, three, two, two, one.

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[MUSIC]

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You can hear a couple of things, a couple
of features in that familiar song.

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The first one that we're going to point
out,

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is that you got a very strong tonal
identity.

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[MUSIC]

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I was singing in C.

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[MUSIC]

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And C is the tonic.

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And it came across very clearly.

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>> Another thing we can think about
relates to the structure of the music.

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So as the melody progresses, there are
points.

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It comes to rest, but it doesn't feel
completely finished.

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There are other points where the music
comes to

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rest but does feel finished and does feel
'closed'.

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Now these points are what we know as
cadences.

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>> Let's look at a couple of those
cadences from the familiar song.

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A cadence that comes to rest but sounds
open and unfinished.

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We've got one up above the world so high,
like a diamond in the sky.

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[MUSIC]

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It rests, but it's not finished.

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And we can compare that with the return at
the end.

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Twinkle, twinkle little star, how I wonder
what you are.

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[MUSIC]

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What's causing that effect then?

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>> Well, in order to think about, we

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really want to look at the scale degrees
again.

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Before we do that, let's just think about
the key of C as a whole.

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So we got, one, two, three, four, five,
six,

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seven, and back to one again for our
tonic.

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>> We know that triads that are built on
the tonic.

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[MUSIC]

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And the dominant.

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[MUSIC]

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Have particularly strong structural

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properties, harmonically, they're very
strong.

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So let's see which scale degrees feature
in the dominant triad.

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[MUSIC]

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We've got a five.

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[MUSIC]

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And we've got a seven.

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[MUSIC]

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And we've got a two.

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[MUSIC]

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I mean, we've got the fifth and the

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seventh and the second degrees of the
scale present.

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For the tonic triad, we've got the first,
and

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the third, and the fifth degrees of the
scale present.

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>> So let's go back to our melody again
and look at this in a bit more detail.

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Well, if we look at one of the points that

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the music came to rest but didn't feel
finished, we get.

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>> We had five, five, four, four, three,

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three, two, five, five, four, four, three,
three, two.

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>> So the five and the two really stand
out to us, and that's what gives us

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that feeling - of it not feeling quite
finished,

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the two notes that belong to the dominant
chord.

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>> Especially when we compare that to the
phrase that did sound finished.

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Four, four, three, three, two, two, one.

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>> And when we're coming down there, we're
coming back away from the tonic chord.

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Sorry... we're coming back from the DOMINANT
chord back to the the tonic chord.

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And this is another example of a cadence.

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>> So music theory, we call those cadences
where we

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sit and hang around but at the dominant
open, unfinished chord.

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We call that an imperfect cadence.

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We contrast that with a perfect cadence.

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And that's where we've traveled back from
a dominant.

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[MUSIC]

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Chord back to the tonic.

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[MUSIC]

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And we've come home again.

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There's a lot more to say about cadences.

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And we'll go a bit further in this lecture
later

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on, but you'll go further still in the
final lecture.

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