1 00:00:02,080 --> 00:00:04,139 All right, time for another video. 2 00:00:04,139 --> 00:00:06,595 Cadences. 3 00:00:06,595 --> 00:00:11,074 Perfect, imperfect, playable. 4 00:00:11,074 --> 00:00:14,780 We're going to do much more of this in the next lecture with John Kitchen. 5 00:00:14,780 --> 00:00:16,604 He's going to really put it into a musical context. 6 00:00:16,604 --> 00:00:18,830 But some of you are a bit confused about. 7 00:00:20,460 --> 00:00:22,420 Which is the played, which is the imperfect, which is the perfect. 8 00:00:22,420 --> 00:00:24,020 But also, I think, more importantly, and 9 00:00:24,020 --> 00:00:26,477 this is what I always had when I was a kid. 10 00:00:26,477 --> 00:00:27,540 Well, why the cadence? 11 00:00:27,540 --> 00:00:29,280 I mean, what is it? 12 00:00:29,280 --> 00:00:32,319 Why is it so important that it goes from G back to C, or whatever? 13 00:00:32,319 --> 00:00:35,800 Because you can have those chords and have it not be a cadence. 14 00:00:35,800 --> 00:00:39,690 If it, if the music's not really moving there and changing so. 15 00:00:39,690 --> 00:00:43,577 I just thought, I try and do some really silly examples, like nursery rhyme level, 16 00:00:43,577 --> 00:00:45,789 silliness, but this is kind of how I teach it so. 17 00:00:45,789 --> 00:00:55,789 [MUSIC] 18 00:01:13,136 --> 00:01:15,244 And I can stop there. 19 00:01:15,244 --> 00:01:18,494 Or I could keep going. 20 00:01:18,494 --> 00:01:19,862 I didn't use any of the other chords. 21 00:01:19,862 --> 00:01:23,383 I didn't use the d minor, the two chord, 22 00:01:23,383 --> 00:01:27,522 the four chords, just one, five, and c major. 23 00:01:27,522 --> 00:01:28,390 I could also. 24 00:01:28,390 --> 00:01:31,241 [MUSIC] 25 00:01:31,241 --> 00:01:35,809 make this feel more strong, by making the G7 chord. 26 00:01:35,809 --> 00:01:44,698 [MUSIC] 27 00:01:44,698 --> 00:01:47,586 That makes it stronger because in G7 chord, 28 00:01:47,586 --> 00:01:48,740 [MUSIC] 29 00:01:48,740 --> 00:01:50,101 we have this F-Natural. 30 00:01:50,101 --> 00:01:53,402 Now that means that you really can't feel than you've gone to G-Major. 31 00:01:53,402 --> 00:01:55,500 That really makes it G7. 32 00:01:55,500 --> 00:01:58,134 So, for the perfect case, for the five to the one, 33 00:01:58,134 --> 00:02:01,707 as we said in that last video, the five seven makes it even stronger. 34 00:02:01,707 --> 00:02:05,676 And of course it works exactly the same in the minor key, right? 35 00:02:05,676 --> 00:02:15,676 [MUSIC] 36 00:02:23,091 --> 00:02:24,235 In fact, it's even clearer. 37 00:02:24,235 --> 00:02:27,104 So, that was the perfect cadence. 38 00:02:27,104 --> 00:02:29,651 And an example of the imperfect cadence so 39 00:02:29,651 --> 00:02:33,739 that's you know, now, here's where you have to flip it around. 40 00:02:33,739 --> 00:02:35,402 Still using the same two chords. 41 00:02:35,402 --> 00:02:39,496 C and G, I'm now doing the plagal cadence. 42 00:02:39,496 --> 00:02:41,759 But this means we have to be in a different key. 43 00:02:41,759 --> 00:02:43,095 And I think this is the importance thing. 44 00:02:43,095 --> 00:02:47,068 What made that last cadence really work, was that I clearly, or 45 00:02:47,068 --> 00:02:50,909 at least tried to clearly set a sense of C-Major or C-minor. 46 00:02:50,909 --> 00:02:55,774 Music only works because of what's just happened before and what's happening next. 47 00:02:55,774 --> 00:03:00,229 So by creating the sense of C-Major going up to the five chord G. 48 00:03:00,229 --> 00:03:04,394 And then bring it back down, and hope we got a feel that the imperfect cadence felt 49 00:03:04,394 --> 00:03:06,982 like a place to get to, but not a big place to stay. 50 00:03:06,982 --> 00:03:09,395 And then coming back to the one, felt like it again. 51 00:03:09,395 --> 00:03:11,010 I mean I just should do it again until after, I talked about it. 52 00:03:11,010 --> 00:03:12,313 [MUSIC] 53 00:03:12,313 --> 00:03:17,259 Whew [LAUGH] and that's just C, and then you really feel. 54 00:03:17,259 --> 00:03:20,321 That's yeah, It did something but, 55 00:03:20,321 --> 00:03:24,989 in tonal music we're going to pretty much come back to C. 56 00:03:24,989 --> 00:03:26,600 But now we have to change key. 57 00:03:26,600 --> 00:03:34,558 We have to now go to g major so clear, clear your minds and [SOUND]. 58 00:03:34,558 --> 00:03:37,838 We need to be in G, G, G, G. 59 00:03:37,838 --> 00:03:39,603 Okay, and set G in your head. 60 00:03:39,603 --> 00:03:42,847 So now we're going to be in G-Major, but this is not going to be our tonic. 61 00:03:42,847 --> 00:03:43,498 Yeah, so. 62 00:03:43,498 --> 00:03:53,498 [MUSIC] 63 00:04:15,811 --> 00:04:18,807 And I intentionally made that sound a bit more pop, and a bit more rock. 64 00:04:18,807 --> 00:04:24,010 Because now a days you'll most often hear that plagal cadence in popular music. 65 00:04:24,010 --> 00:04:26,020 But of course, it's also called the church cadence or 66 00:04:26,020 --> 00:04:31,160 the Amen cadence because it does, it was popular in early church music. 67 00:04:31,160 --> 00:04:33,310 And, in the hymns still, so. 68 00:04:33,310 --> 00:04:35,007 That's the same two chords, and 69 00:04:35,007 --> 00:04:38,287 I hope that I managed to prove to you that by going up to G-major,. 70 00:04:38,287 --> 00:04:39,667 [MUSIC] 71 00:04:39,667 --> 00:04:40,680 I can make that C. 72 00:04:40,680 --> 00:04:42,603 [MUSIC] 73 00:04:42,603 --> 00:04:44,370 And that G sound different again. 74 00:04:44,370 --> 00:04:46,680 And that's all for that one. 75 00:04:46,680 --> 00:04:49,511 Thanks very much.