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In the last section, we talked a lot about
the dominant triad

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and I talked a lot about the tonic triad,
but actually as we

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talked about in week one, we can build a
triad on any note

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within the scale and that's exactly what
we're just going to do now.

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>> Yep, we're going to start with chord
scale degree one.

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going to go up through all the scale
degrees one, two, three, four, five,

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six, seven, one and we're going to build a
triad on each scale degree.

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Now, just to be clear in how we're,

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how we're, we're notating these things for
for,

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for, for differentiation we're using
numbers for scale

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degree one, two, three, four, five, six,
seven.

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When we build triads on each of those
scale degrees, that

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triad is also chord one or chord five or
chord four.

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We use Roman numerals when we, when we're
talking

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about chord or triad numbers instead of
normal numbers.

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>> Okay, so if we take C as our tonic in this
case.

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We're going to build a triad on c, it's
the first degree of

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the scale, and as Nicki said, we're going
to call that chord one.

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Now on a major key, let's hear that again.

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We've got a major chord.

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Okay, let's go in to chord two.

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Chord two in the major key is minor, chord
three is minor.

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Chord four is major.

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Chord five is major.

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Chord six is minor and chord seven is the
one that was different.

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This is a diminished triad.

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Just to recap, between the first and the
fifth, we've actually got

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a diminished fifth, not [UNKNOWN] perfect
fifth as we have with the others.

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>> This would be a perfect fifth.

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This is slightly smaller, so we get a
diminished fifth and

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in between we've got minor third from the
first to the third.

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So, a diminished fifth and a minor third
gives us a diminished triad .

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Chord seven is a diminished triad.

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>> Now, what's important to spot here as
we go up the

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major scale is that we've got yet another
pattern emerging in music theory.

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You remember that our major scale always
has the pattern of tone, tone,

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semi-tone, tone, tone, tone, semi-tone
intervals

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as we ascend the scale degree numbers.

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When we build a triad on every single,
every single scale degree, traveling up

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the octave, we get that pattern of

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major, minor, minor, major, major, minor,
diminished.

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That pattern stays the same, whichever [major] key
you're playing in.

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Chord five is always major, chord two is
always minor.

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>> So we can take any note and build a
triad on it.

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But actually, it seems that when we look
at music, and when we

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analyse pieces of music, there are some
chords that get

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more use, some chords are used more often
than others.

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>> We saw with Twinkle, Twinkle, with our
little example, it was chord one and

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chord five, it was the tonic and

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the dominant triads that were really
important structurally.

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In common practice music theory, chords
one, five, and also

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chord four are the three sort of, most
important structural building blocks.

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The subdominant, that's chord four, often
appears before chord five and it sort

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of extends the whole structure that we've

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described with those perfect and imperfect
cadences.

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>> But it's not just in big pieces of,

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of work from the common practice era that we
see this.

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In fact, any diatonic melody, we can take
and

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harmonize it with chords one, chords four
or chord five.

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Since every single scale degree actually
occurs in chord one, four or five, we

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can use these chords in conjunction with
melodies built from this pool of notes.

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>> There's a lot more to say and we will
go on

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soon, but first we have to carry on with
our triad building exercise.

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>> Okay.

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So now we've seen the patterns that come
out through triads built in a major scale.

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But what happens when we do this with a
minor scale?

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>> Well, as you've predicted, based on
what you know from the major scale,

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we're getting a whole new set of

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internal regular patterns emerging when we
go through.

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The triads are built on each degree of a
minor scale.

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>> We're going to use A minor this time,
so,

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rather the c major, we're shifting to its
equivalent minor.

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Starting with chord one.

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>> So chord one in A minor.

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You've guessed that is a minor, so that's
a minor chord, on chord one.

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If we move up to chord two, we get a
diminished triad.

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So it's like, it's like the seventh chord
from

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a major scale, it's got that same [SOUND]
diminished quality.

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>> Okay, then if we move on to chord
three, we

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get something interesting happening here,
because we're in our minor key.

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Now you'll remember from week two we
talked about different types of minors.

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We were looking at this just now, we're
going to look at the harmonic minor,

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and that gives us a new chord on chord
three that we've not discussed yet.

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So we've got a major third, but if you look at

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the distance between the root of the cord,
and the fifth.

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We've actually got 8 semitones now, which is
one semitone

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more than the perfect fifth that we've
already talked about.

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This is called an augmented fifth.

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So a chord that has a major third and

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an augmented fifth, we're going to call an
augmented triad.

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>> And you don't realize that this is
happening because chord

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three has the scale degrees three and five
and seven in it.

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And you'll remember that what
characterized the harmonic minor

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scale was it had a sharpened seventh.

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>> [SOUND] Okay, moving on to chord four.

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We've got a minor triad.

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And then going onto chord five, we've got
a

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major triad, again encompassing the G
sharp that was important.

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We now have our major triad.

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We move onto chord six, we've got a major
triad.

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[SOUND] And then we go to seven.

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We're back to another example of a
diminished triad.

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[SOUND] and back to the tonic again.

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>> Okay, so the properties that we get
from

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the triads that we're building in the
harmonic minor

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scale give us a really distinctive set of
of

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distinctive set of, of patterns, of
triads that emerge.

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We've got a mix of diminished, we've now got
augmented and

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we've also got that major fifth happening
on, on, on the

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when we buildup from the, from the fifth
degree of the scale because

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we've got that leading note because we've
got that sharpened seventh.

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So, it's really unambiguous.

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So, moving around in different keys, that
pattern of triads

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would emerge from any key notes using a
harmonic minor scale.

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