1
00:00:05,440 --> 00:00:08,420
Okay, so we've looked at a lot of
different chord types now.

2
00:00:08,420 --> 00:00:10,540
And we've built triads on every degree of
the

3
00:00:10,540 --> 00:00:12,060
major scale and every degree of the minor
scale.

4
00:00:12,060 --> 00:00:15,470
And we've heard a lot of different quality
of chords coming through.

5
00:00:15,470 --> 00:00:21,120
Now, we know that we can actually
harmonize any diatonic melody just with

6
00:00:21,120 --> 00:00:25,280
the chords that you build on the tonic,
the subdominant and the dominant.

7
00:00:26,300 --> 00:00:28,460
But we also now know that there's all
these other

8
00:00:28,460 --> 00:00:30,880
chords that we could use, so it's, it's a
time to

9
00:00:30,880 --> 00:00:33,650
start perhaps playing around with that and
hearing what we

10
00:00:33,650 --> 00:00:37,630
can do using that familiar melody again,
Twinkle, Twinkle Little Star.

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00:00:38,880 --> 00:00:41,100
>> Okay, so we've had this melody in week
one.

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00:00:41,100 --> 00:00:43,560
You know, we've used that a few times
today.

13
00:00:44,580 --> 00:00:47,040
So far today, we've talked about
harmonizing it just

14
00:00:47,040 --> 00:00:49,730
with cord five the dominate and cord one
the tonic.

15
00:00:49,730 --> 00:00:51,280
And we had the kind of important

16
00:00:51,280 --> 00:00:54,190
structural impact that this has on the
melody.

17
00:00:55,380 --> 00:00:57,750
Now we're going to hear it just with
chords one, four and five.

18
00:00:57,750 --> 00:00:59,321
And then we're going to take some other
chords

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00:00:59,321 --> 00:01:01,600
and make it sound a wee bit more
interesting.

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00:01:01,600 --> 00:01:03,110
So, Nicky is going to play the guitar.

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00:01:03,110 --> 00:01:04,100
>> It's not my guitar.

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00:01:04,100 --> 00:01:07,160
This is Zack's guitar and he's been very
kind and trusting

23
00:01:07,160 --> 00:01:09,600
by lending it to me because I'm not really
a guitarist.

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00:01:09,600 --> 00:01:13,262
But we thought that probably quite a lot
of you will guitars around at home.

25
00:01:13,262 --> 00:01:17,900
And also we're going to sort of teach you
turning around in this, in this format.

26
00:01:17,900 --> 00:01:21,302
Might just give you a break from where
we've been teaching at the piano

27
00:01:21,302 --> 00:01:24,430
and, and give you an insight to how we
learn to do things as well.

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00:01:24,430 --> 00:01:25,321
>> Okay.

29
00:01:25,321 --> 00:01:27,973
So I'm going to sing the melody, Nikki is
going to

30
00:01:27,973 --> 00:01:30,833
harmonize it using chords one, four, and
five.

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00:01:30,833 --> 00:01:40,991
[MUSIC]

32
00:01:40,991 --> 00:01:45,512
Okay, so it's just the first phrase but
we're using chords 1, 4, and 5,

33
00:01:45,512 --> 00:01:50,194
and you hear how the, how the melodies
sounds and you hear its cadential point.

34
00:01:50,194 --> 00:01:52,040
So, let's try something different.

35
00:01:52,040 --> 00:01:53,930
Let's take another one of the chords we've
learned, and this

36
00:01:53,930 --> 00:01:56,710
is arguably the next most important and
the next most common chord.

37
00:01:56,710 --> 00:01:58,490
We're going to use chord six this time.

38
00:01:58,490 --> 00:01:59,330
>> Okay dokey.

39
00:01:59,330 --> 00:02:02,920
>> In the key of G, that is the chord of
E-Minor.

40
00:02:02,920 --> 00:02:05,740
That's chord two, we're going to have.

41
00:02:05,740 --> 00:02:06,970
>> That's chord two.

42
00:02:06,970 --> 00:02:08,936
>> We're going to have chord six, which is
E-Minor.

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00:02:08,936 --> 00:02:09,600
>> E-minor.

44
00:02:09,600 --> 00:02:09,990
there you go...

45
00:02:09,990 --> 00:02:10,660
>> ... In the key of G.

46
00:02:10,660 --> 00:02:11,160
Thank you.

47
00:02:11,160 --> 00:02:11,580
Okay.

48
00:02:11,580 --> 00:02:15,535
So what I want you to do is just have that
just as the last chord in that phrase.

49
00:02:15,535 --> 00:02:15,830
>> Mh-hm.

50
00:02:15,830 --> 00:02:18,300
>> We're going to hear how just a subtle
change in chord makes a real

51
00:02:18,300 --> 00:02:22,920
difference to the feel and the overall
effect of the harmonization of the melody.

52
00:02:22,920 --> 00:02:24,387
Okay, so let's try again.

53
00:02:24,387 --> 00:02:34,387
[MUSIC]

54
00:02:35,691 --> 00:02:37,947
Okay, so again, we've got this, a
completely

55
00:02:37,947 --> 00:02:40,510
different sound when we arrive at that
chord.

56
00:02:40,510 --> 00:02:42,940
And it's interesting because it gives the
melody a different color.

57
00:02:42,940 --> 00:02:45,790
And it gives us a new direction to go off
in.

58
00:02:45,790 --> 00:02:48,982
>> But it kind of worked because that
chord that we just

59
00:02:48,982 --> 00:02:53,098
used, chord six, has a scale degrees in
it, six, one, three.

60
00:02:53,098 --> 00:02:56,840
And that overlaps a lot with the scale
degrees that you get

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00:02:56,840 --> 00:03:00,370
in the tonic chord one, three and five,
which we were using before.

62
00:03:01,540 --> 00:03:01,940
>> Okay.

63
00:03:01,940 --> 00:03:03,280
Let's try a different one.

64
00:03:03,280 --> 00:03:06,090
This time what we're going to do is we're
going to extend

65
00:03:06,090 --> 00:03:09,190
the feeling that we get towards the end of
the phrase.

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00:03:09,190 --> 00:03:13,280
What I want you to do is just before the
five chord, which in the key

67
00:03:13,280 --> 00:03:16,890
of G is D, I want you to just put a wee
A-Minor chord in it.

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00:03:16,890 --> 00:03:17,600
>> Which I already practiced.

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00:03:17,600 --> 00:03:20,110
>> Now's your chance to have the A-Minor
chord in place.

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00:03:20,110 --> 00:03:20,630
>> There it is.

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00:03:20,630 --> 00:03:20,920
>> That's it.

72
00:03:20,920 --> 00:03:21,540
A-Minor.

73
00:03:21,540 --> 00:03:22,040
Okay?

74
00:03:22,040 --> 00:03:23,610
So that's chord two in the key of G.

75
00:03:23,610 --> 00:03:25,914
G chord one, A-Minor is chord two.

76
00:03:25,914 --> 00:03:27,821
Let's try exactly the same thing again and
see what happens.

77
00:03:27,821 --> 00:03:28,293
All right?

78
00:03:28,293 --> 00:03:29,348
>> Okay.

79
00:03:29,348 --> 00:03:39,348
[MUSIC]

80
00:03:40,502 --> 00:03:44,450
>> So the progression we got there was
two, five, one in the key of G.

81
00:03:44,450 --> 00:03:45,860
And this is really important.

82
00:03:45,860 --> 00:03:47,500
Particularly for those of you who've maybe

83
00:03:47,500 --> 00:03:49,110
come to this course from a jazz
background.

84
00:03:49,110 --> 00:03:51,280
This is something you'll recognize,
whether or

85
00:03:51,280 --> 00:03:54,400
not you're necessarily familiar with
theory of it.

86
00:03:54,400 --> 00:03:55,930
But that's a sound that's really
important.

87
00:03:57,190 --> 00:03:59,370
>> And I think that's enough for me
massacring Zack's guitar.

88
00:03:59,370 --> 00:04:01,220
So, now what are we going to do is get
back to the

89
00:04:01,220 --> 00:04:04,220
piano, and we are going to do, then looks
again at some more

90
00:04:04,220 --> 00:04:09,746
of this typical patterns where we are
using cords like two and

91
00:04:09,746 --> 00:04:14,850
six, to extend and elaborate the basic
harmonic functions that we've seen.

92
00:04:14,850 --> 00:04:16,620
We can get with mainly chords one and

93
00:04:16,620 --> 00:04:19,499
five, and sometimes with chords one, four,
and five.

94
00:04:25,850 --> 00:04:27,200
So we've now seen that there are

95
00:04:27,200 --> 00:04:30,440
some really important structural moments
called cadences.

96
00:04:30,440 --> 00:04:32,710
And we've seen a few ways that we can
travel.

97
00:04:32,710 --> 00:04:34,930
We know that we have to go from five to
one.

98
00:04:34,930 --> 00:04:41,105
We've seen from the Twinkle Twinkle Little
Star examples there that a common

99
00:04:41,105 --> 00:04:47,550
way of getting to the five to the one is
to put a chord four in beforehand.

100
00:04:47,550 --> 00:04:50,740
And that sort of elaborates and extends
that progression.

101
00:04:50,740 --> 00:04:53,538
So if we were in G-Major, then a

102
00:04:53,538 --> 00:04:58,322
four, five, one progression would sound
like this.

103
00:04:58,322 --> 00:05:02,878
[MUSIC]

104
00:05:02,878 --> 00:05:06,620
But there are other ways of heading back
to the tonic.

105
00:05:06,620 --> 00:05:12,260
>> Yeah, and another way to do that is to
change our dominant chord

106
00:05:12,260 --> 00:05:15,690
in some way so that it gives us greater
pull back to the tonic.

107
00:05:15,690 --> 00:05:19,480
So let's jump back into the key of C, just
for ease of example at the moment.

108
00:05:19,480 --> 00:05:20,562
So if we're in the key of C.

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00:05:20,562 --> 00:05:22,472
[MUSIC]

110
00:05:22,472 --> 00:05:24,310
Our fifth note is G.

111
00:05:24,310 --> 00:05:25,681
So if we build our triad.

112
00:05:25,681 --> 00:05:27,898
[MUSIC]

113
00:05:27,898 --> 00:05:30,700
From there we get G, B, D.

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00:05:30,700 --> 00:05:31,950
>> That's a dominate triad.

115
00:05:31,950 --> 00:05:35,730
>> Dominate triad and it uses five,
seven, and two.

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00:05:36,830 --> 00:05:40,955
Now, if we add the fourth degree of the
scale to that as well, again

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00:05:40,955 --> 00:05:45,542
we see it's a third up from our fifth
degree there, of the, of the cord.

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00:05:45,542 --> 00:05:48,261
[MUSIC]

119
00:05:48,261 --> 00:05:50,563
G B D F.

120
00:05:50,563 --> 00:05:55,163
And this is our dominant seventh chord,
we've altered our dominant drive in a way

121
00:05:55,163 --> 00:05:59,700
by adding this extra note and given it a
greater sense of pull towards the tonic.

122
00:05:59,700 --> 00:06:01,693
>> So let's hear how that would play out

123
00:06:01,693 --> 00:06:04,779
in that sort of credential sequence, so
the pattern I'm

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00:06:04,779 --> 00:06:06,964
going to play now is chord 5, then chord

125
00:06:06,964 --> 00:06:09,970
five-seven or dominant seven, and then
back to one.

126
00:06:09,970 --> 00:06:12,617
So in C-Major we will have

127
00:06:12,617 --> 00:06:17,433
[MUSIC]

128
00:06:17,433 --> 00:06:19,760
That's quite a strong cadence isn't it?

129
00:06:19,760 --> 00:06:21,791
With the way that the five goes to the
one.

130
00:06:21,791 --> 00:06:24,420
So, let's just look about what,

131
00:06:24,420 --> 00:06:26,510
what's working, what's working within that
cadence.

132
00:06:28,420 --> 00:06:32,660
We've got the G, the B and the
D in it.

133
00:06:32,660 --> 00:06:37,370
Now that chord, we're saying is a dominant
triad of C

134
00:06:37,370 --> 00:06:40,836
Major, but you might be thinking, what
other chords could that be?

135
00:06:40,836 --> 00:06:41,761
That could be.

136
00:06:41,761 --> 00:06:42,930
[MUSIC]

137
00:06:42,930 --> 00:06:45,164
>> Well, it's just a G-Major triad so in

138
00:06:45,164 --> 00:06:49,010
theory it could be G-Major, chord one
in the key of G-Major.

139
00:06:49,010 --> 00:06:51,475
>> Okay, if we were adding a seventh to it
in in

140
00:06:51,475 --> 00:06:55,180
the key of G-Major that would have to be
this note wouldn't it.

141
00:06:55,180 --> 00:06:56,045
[MUSIC]

142
00:06:56,045 --> 00:06:57,960
Because we've got F sharps in G-Major.

143
00:06:57,960 --> 00:07:01,340
So if we had a seventh chord built on G it
would sound like this.

144
00:07:01,340 --> 00:07:02,678
[MUSIC]

145
00:07:02,678 --> 00:07:05,090
And that's not what we're hearing at all.

146
00:07:05,090 --> 00:07:08,720
So one reason that this five, five, seven,
one movement

147
00:07:08,720 --> 00:07:11,940
sounds quite strong is it's really, really
giving us quite

148
00:07:11,940 --> 00:07:14,576
emphatically our sense of key when we get
the G

149
00:07:14,576 --> 00:07:17,940
seven with F natural, we know we're not in
G major.

150
00:07:17,940 --> 00:07:22,540
So we know that that chord is probably
going to take us back somewhere in C.

151
00:07:22,540 --> 00:07:25,150
The other important features of that
dominant seventh

152
00:07:25,150 --> 00:07:29,160
chord is that it's not only got the

153
00:07:29,160 --> 00:07:33,580
leading notes in C-Major, which is B, and
that wants to lead us back to C.

154
00:07:34,630 --> 00:07:37,290
So the dominant seventh has got that
leading note

155
00:07:37,290 --> 00:07:39,220
from C, from B to C, from seven to one.

156
00:07:39,220 --> 00:07:43,310
The other thing that's going on in a
dominant seventh chord

157
00:07:43,310 --> 00:07:47,200
is it's got a four that also wants to move
a semitone.

158
00:07:47,200 --> 00:07:50,112
That's the other semitone that happens in
our major scale

159
00:07:50,112 --> 00:07:52,440
and that wants to come from four down to
three.

160
00:07:52,440 --> 00:07:56,610
So, there's two types of harmonic movement
that happen in

161
00:07:56,610 --> 00:07:59,550
that dominant seventh that can resolve
this back to the one.

162
00:07:59,550 --> 00:08:03,177
Let's just listen to the five, five,
seven, one again.

163
00:08:03,177 --> 00:08:08,330
[MUSIC]

164
00:08:08,330 --> 00:08:11,850
See, it's got two harmonic pulls in it,
going in different directions.

165
00:08:13,920 --> 00:08:16,735
So you might have been wondering now that
we just introduced

166
00:08:16,735 --> 00:08:19,790
four-note chords to you, why we've only been using
three notes up till now.

167
00:08:20,940 --> 00:08:23,920
>> Well, there's absolutely no reason why
you should have to, we've been

168
00:08:23,920 --> 00:08:28,020
talking triads because it's a good way to
illustrate how chords work within keys.

169
00:08:28,020 --> 00:08:32,760
But there's some styles of music that
almost always use more extended chords.

170
00:08:32,760 --> 00:08:35,436
Jazz is a good example of this where
you'll have seventh chords,

171
00:08:35,436 --> 00:08:40,780
ninths, elevenths, thirteenths and a lot
of alterations to these scale degrees.

172
00:08:41,910 --> 00:08:45,370
But, actually, we've been talking about
harmonic function in a way

173
00:08:45,370 --> 00:08:50,710
that focuses on the, the tonic, the
subdominant, and the dominant.

174
00:08:50,710 --> 00:08:53,130
When we're talking about other, other
styles of

175
00:08:53,130 --> 00:08:56,110
music that use more extended chords, this
doesn't change.

176
00:08:56,110 --> 00:08:58,300
It still works in the same way, but what's

177
00:08:58,300 --> 00:09:01,420
important is addition of extra notes to the chords
gives it

178
00:09:01,420 --> 00:09:04,660
a definite color, definite flavor, and
sometimes softens the

179
00:09:04,660 --> 00:09:08,060
way that the chords move from one to
another.

180
00:09:08,060 --> 00:09:13,380
>> So we've just heard that progression
five, five-seven, one and we've heard how

181
00:09:13,380 --> 00:09:16,190
strong a perfect cadence that is with

182
00:09:16,190 --> 00:09:20,390
the dominant seventh leading back to the
tonic.

183
00:09:20,390 --> 00:09:23,432
How about instead of five, five, seven,
one,

184
00:09:23,432 --> 00:09:26,560
we use the progression two, five, seven,
one?

185
00:09:26,560 --> 00:09:29,450
Let's hear how different that sounds.

186
00:09:29,450 --> 00:09:30,977
Here's five, five-seven, one.

187
00:09:30,977 --> 00:09:31,607
[SOUND].

188
00:09:31,607 --> 00:09:34,932
And here's two, five-seven, one.

189
00:09:34,932 --> 00:09:39,770
[MUSIC]

190
00:09:39,770 --> 00:09:43,534
Harmonically speaking, that last cadence,
two, five, seven, one,

191
00:09:43,534 --> 00:09:45,550
has got a lot of strong things going on.

192
00:09:46,690 --> 00:09:49,430
It's, it stays very securely within the
key.

193
00:09:49,430 --> 00:09:53,120
It shows us always where our tonic is, but
it's never static.

194
00:09:53,120 --> 00:09:56,370
It's got major and minor chords happening
in it, and it's

195
00:09:56,370 --> 00:10:00,690
got that dominant movement that dominant
seventh movement that gives us

196
00:10:00,690 --> 00:10:02,720
the leading note to the tonic, and also
gives us that

197
00:10:02,720 --> 00:10:06,385
semitone action between, from scale
[UNKNOWN] four going down to three.

198
00:10:07,760 --> 00:10:08,790
>> It's also got a really nice,

199
00:10:08,790 --> 00:10:12,488
secure, and definite movement happening in
the bass.

200
00:10:12,488 --> 00:10:15,710
So when Nicky played it, you have the top
part there, the higher sounding

201
00:10:15,710 --> 00:10:20,890
notes move nice and smoothly from one to
the next, moving in quite, small jumps.

202
00:10:20,890 --> 00:10:23,220
But actually what was happening in the
bass was that we had a big

203
00:10:23,220 --> 00:10:27,920
jump from the D up to the G, and then down
to the C.

204
00:10:27,920 --> 00:10:34,170
So what happened was, we went from the D,
up four notes to the G.

205
00:10:34,170 --> 00:10:36,540
And then down five notes to the C.

206
00:10:36,540 --> 00:10:38,510
>> These are big movements, if this where
a physical

207
00:10:38,510 --> 00:10:40,930
structure then you could think of it as
being really solid.

208
00:10:40,930 --> 00:10:45,390
We've got really big wide placed pillars
giving you a good foundation on the

209
00:10:45,390 --> 00:10:48,080
ground leading up to the supporting
structures

210
00:10:48,080 --> 00:10:50,430
the, the highest of happening at the
ceiling.

211
00:10:50,430 --> 00:10:53,390
So what we should do actually, is just
look at what this notes actually were

212
00:10:53,390 --> 00:10:55,030
and then maybe draw your attention to

213
00:10:55,030 --> 00:10:57,550
a pattern that you remember from previous
weeks.

214
00:10:57,550 --> 00:10:59,548
So if we look at the D to the G.

215
00:10:59,548 --> 00:11:01,628
[MUSIC]

216
00:11:01,628 --> 00:11:07,190
This is a fourth, and then from the G to
the C, this is also a fourth.

217
00:11:07,190 --> 00:11:10,280
So you might remember the circular of fifths
when we were talking about key signatures.

218
00:11:10,280 --> 00:11:13,442
What we said is that if you went clockwise
in the circle

219
00:11:13,442 --> 00:11:17,600
of fifths, each jump that you made progressed
you a fifth, a perfect fifth.

220
00:11:17,600 --> 00:11:20,000
But we actually said if you looked
anti-clockwise

221
00:11:20,000 --> 00:11:23,460
round the same circle, you would move in
fourths.

222
00:11:23,460 --> 00:11:27,780
D to G, is a fourth, and G to C is a
fourth.

223
00:11:27,780 --> 00:11:29,960
Regardless of the fact that when we
actually played the piece

224
00:11:29,960 --> 00:11:32,220
of music we moved from a G down to a C.

225
00:11:33,490 --> 00:11:36,762
This again serves to show that up a
fourth and down

226
00:11:36,762 --> 00:11:40,350
a fifth are equivalent, they take you to
the same note.

227
00:11:41,930 --> 00:11:45,500
>> Some harmonic progressions sound more
logical and flowing than

228
00:11:45,500 --> 00:11:47,710
others and they tend to get used more than
others.

229
00:11:47,710 --> 00:11:52,440
And quite often it's this root movement of
the chord working

230
00:11:52,440 --> 00:11:56,139
with the cycle of fifths that's actually
producing this very flowing sound.

231
00:11:58,670 --> 00:12:01,814
Another feature of a harmonic progression
that can make it sound

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really coherent, is where a particular

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pattern gets repeated within the
progression.

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So, some of the most memorable harmonic
progressions, that get most commonly used,

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might include both circle of fifths, and they
might keep going with that some way.

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We've included an example here and you
might well recognize this one.

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There's some more in the supplementary
material for you to follow up with.

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[MUSIC]

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[BLANK_AUDIO]