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So we've had practice already, earlier on
building triads

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on all the degrees of the major and minor
scale.

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But now we know that we that we don't

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have to build chords with just three notes
in them.

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We now know about four-note chords, so
what we wanted to do was

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just spend a bit of time building four-note chords up from the triad.

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Missing out every other note but
continuing on.

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So we got the first on we missed out on
one we've got

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another one we miss that one, we've got
another one, we miss that one.

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And then put another one in as well.

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We're going to do that for every scale
degree and

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see what quality of chords emerge when we
do that.

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>> So we start on a major key, first of
all.

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And again, we're going to use C - just
because it's

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a nice easy one to show on the piano.

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[MUSIC]

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So as Nikki said, we've got the 1st

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degree, 3rd degree, 5th degree, and the
7th degree.

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And actually what we is we've got

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the major triad that we're familiar with,
[SOUND]

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but we've also got the interval of a major
7th from the root to the 7th.

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The major triad with the major 7th is a
major 7th chord.

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[MUSIC]

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Okay, the chord on, the chord built on the

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2nd degree is minor triad with a minor 7th
we're

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going to call that a minor 7th chord
that's the

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same for chord C we've got a minor 7th
chord.

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[MUSIC]

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Chord 4, we have a major 7th chord.

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So we got a major triad with F to E in
this case which is a major 7th on the outside.

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So it's a major triad with a major 7th, so
major 7th chord.

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Then we got a major triad, but this time
we've got a major triad with a minor 7th.

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And this is called a dominant 7th chord.

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It goes down to the 7th chord because
it's, it's a 4th-note chord

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built up from chord 5 from the dominant
and it's the one that you recognize.

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It's the dominant 7th chord and it's got
important features in it.

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It's got a three, a four that wants to
move to

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a 3 and a 7 that wants to move to a 1.

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The reason that it's got that going on is

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because that's where the semitones fall
and you'll remember that.

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So, [SOUND] we want it wants to resolve
- it wants

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to take us back to tonic and that's what
distinguishes it.

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[SOUND].

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>> Okay, so that's chord five and remember

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we talked about that having a very
important function.

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Moving onto six, we've got a minor triad,
again with a minor 7th.

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We now know that this is a minor 7th
chord.

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And then if we move to chord 7, we said
that that was a diminished triad and it

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is but actually when we add the 7th on

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we have minor 7th between the root and the
7th.

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So diminished triad with a minor 7th is
what's known as a half diminished chord.

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So, let's just reiterate that.

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On chord one, we've got major 7th.

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Chord two, we've got minor 7th.

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Chord three, we've got minor 7th.

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Chord four, we've got major 7th.

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Chord five, we've got that all important
dominant 7th.

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Chord six, we've got our minor 7th.

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And chord seven is a half diminished
chord.

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We've included some supplementary material
that

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not only explains this, but also shows

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you some chord symbols that are used
particularly in pop music and jazz.

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>> All right, that was the major scale,
that was

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building 7th chords on every single degree
of the major scale.

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So now you know what we're going to do,
we're going to do the same

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thing again but building 7th chords on
every degree of the harmonic minor scale.

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We'll use A minor.

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>> Okay, so if we look at this, we know
we've got a minor triad.

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Actually, if we use a harmonic minor,
we've got a

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major seven, so we're going to call this a
minor major 7th.

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Okay, moving on, we've got half diminished
chord, so that a minor triad with.

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Sorry that's our diminished triads with a
minor 7th.

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That's half diminished.

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Moving on, we've got that nice augmented
sound that we got when we built

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the triad on chord three, but this time we
got a major 7th with it.

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So this is an augmented major 7th.

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[MUSIC]

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Chord four.

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We get our minor triad with a minor 7th,
so it's a minor 7th chord.

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Chord five, we've got a major triad with a
minor 7th.

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We've spoken about this as being our
dominant 7th chord.

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>> So, as in the major scale, [SOUND]
we've

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got that same pattern of intervals which
contains in it.

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Those two important pulls, it got a seven
that wants to move to a one.

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And its got a four that wants to move to a

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three, as well as thinking about it in its
key context.

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So, here I've got this chord chord five
with a 7th

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on it and it wants to move to this chord
one.

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When it does that, it's got a pull.

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Or it's got this pull.

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It wants to resolve in that fashion.

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>> This is really important.

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This is why dominant's so important within
the key.

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So it's called five dominant 7th.

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moving to chord 6th.

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We've got a major triad with a major 7th,
so we get a major 7th chord.

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[MUSIC]

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And then we've got a diminished triad, but
with

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a diminished 7th and this is called
diminished 7th chord.

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Okay, so let's just reiterate that.

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If we go back to chord one, [SOUND] we've
got a minor major seventh.

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Chord two, [SOUND] half diminished.

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Chord three, [SOUND] augmented major
seventh.

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00:05:20,592 --> 00:05:23,393
Chord four, [SOUND] minor seventh.

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Chord five, dominant 7th.

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Chord six, major 7th.

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And chord seven is our diminished 7th
chord.

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00:05:32,345 --> 00:05:33,628
>> So, let's sum up.

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Back in lecture 2, you heard how a given
scale can lead our ears to hear one

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note after the whole scale as being the
most

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important or defining note as being the
key note.

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In this lecture, we've seen how a similar
perceptual effect can

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happen with groups of notes with, with
triads and with chords.

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>> So we started off by looking at triads
and

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looking at how the notes work together to
give us quality.

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So we said things like the chord was
major.

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Or minor, or augmented, or diminish.

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And then we took that one step further by
adding

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another degree, we added the seventh, so its a
four-note chord.

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And we looked at the qualities that we 
got from these chords.

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>> So finally, what we're seeing in this
lecture is how the putting

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together those courts can give us a

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really important and very strong
structural effect.

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How the harmonic structures that arise, from especially chords
like the tonic, the

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dominant, and the sub dominant had these,
really commonly used together.

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To create overall structures, that
reinforce our sense of key,

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that reinforce our sense of, of, of
tonality, of tonal center.

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And we've seen how other chords can be
used

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to, to elaborate and and extend that
harmonic structural experience.

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>> So, just remember to have a look at

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the supplementary material that is on this lecture's webpage.

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In the next lecture, what you're going to
go on to do

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is look more at chords within keys and how
they actually work together.

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[BLANK_AUDIO]