All right, time for another video.
Cadences.
Perfect, imperfect, playable.
We're going to do much more of this in
the next lecture with John Kitchen.
He's going to really put
it into a musical context.
But some of you are a bit confused about.
Which is the played, which is
the imperfect, which is the perfect.
But also, I think, more importantly, and
this is what I always
had when I was a kid.
Well, why the cadence?
I mean, what is it?
Why is it so important that it goes
from G back to C, or whatever?
Because you can have those chords and
have it not be a cadence.
If it, if the music's not really
moving there and changing so.
I just thought, I try and do some really
silly examples, like nursery rhyme level,
silliness, but
this is kind of how I teach it so.
[MUSIC]
And I can stop there.
Or I could keep going.
I didn't use any of the other chords.
I didn't use the d minor, the two chord,
the four chords, just one,
five, and c major.
I could also.
[MUSIC]
make this feel more strong,
by making the G7 chord.
[MUSIC]
That makes it stronger
because in G7 chord,
[MUSIC]
we have this F-Natural.
Now that means that you really can't
feel than you've gone to G-Major.
That really makes it G7.
So, for the perfect case,
for the five to the one,
as we said in that last video,
the five seven makes it even stronger.
And of course it works exactly
the same in the minor key, right?
[MUSIC]
In fact, it's even clearer.
So, that was the perfect cadence.
And an example of the imperfect cadence so
that's you know, now,
here's where you have to flip it around.
Still using the same two chords.
C and G, I'm now doing the plagal cadence.
But this means we have to
be in a different key.
And I think this is the importance thing.
What made that last cadence really work,
was that I clearly, or
at least tried to clearly set
a sense of C-Major or C-minor.
Music only works because of what's just
happened before and what's happening next.
So by creating the sense of C-Major
going up to the five chord G.
And then bring it back down, and hope we
got a feel that the imperfect cadence felt
like a place to get to, but
not a big place to stay.
And then coming back to the one,
felt like it again.
I mean I just should do it again
until after, I talked about it.
[MUSIC]
Whew [LAUGH] and that's just C,
and then you really feel.
That's yeah, It did something but,
in tonal music we're going to
pretty much come back to C.
But now we have to change key.
We have to now go to g major so
clear, clear your minds and [SOUND].
We need to be in G, G, G, G.
Okay, and set G in your head.
So now we're going to be in G-Major,
but this is not going to be our tonic.
Yeah, so.
[MUSIC]
And I intentionally made that sound
a bit more pop, and a bit more rock.
Because now a days you'll most often hear
that plagal cadence in popular music.
But of course,
it's also called the church cadence or
the Amen cadence because it does,
it was popular in early church music.
And, in the hymns still, so.
That's the same two chords, and
I hope that I managed to prove to
you that by going up to G-major,.
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I can make that C.
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And that G sound different again.
And that's all for that one.
Thanks very much.