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In music, we find that certain patterns of
chords,

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what we call chord progressions, recur
frequently particularly at cadences.

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And we remind ourselves, of course, of the
commonest cadence, Ic V I.

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[MUSIC]

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>> Which sometimes, is, enhanced by, a

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dominant seventh, on the the second last
chord.

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So we hear this.

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[MUSIC]

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>> So a seventh, is added to the dominant
chord, which serves to

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pull the music strongly towards the tonic,
so it's a very strong

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progression and gives a pleasing finality
to the cadence.

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You find in lots of music, for example the
well

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known carol, Hark the Herald Angel sing
goes like this

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[MUSIC]

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>> Or Happy Birthday To You.

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It goes like this.

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And that's possibly the commonest of the
cords progressions and cadences.

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Another cadential progression which we
often find in,

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involves a different cord in the third to
last

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position instead of the one C, we find two
B and often with a seventh added chord.

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Let's stick to G-Major.

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There G Major.

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[MUSIC]

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Chord two.

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[MUSIC]

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The supertonic sounds like that.

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We add a seventh to it.

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[MUSIC]

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And then we put that in first inversion.

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So, we rearrange the notes in this order.

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[MUSIC].

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And that's our third to last chord.

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[MUSIC]

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I'll just play that one once again.

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[MUSIC]

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In addition to these and other

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cadential progressions, are recurrent
patterns of chords.

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We find chord sequences.

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The most common of these sequences is
called the

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Circle of Fifths, which I think has
already been mentioned.

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And this is a very important particular
pattern.

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And it's found in 18th century music, by
composers like Vivaldi, writing

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in early 18th century Venice, but also in
later music of all sorts.

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The circle of fifths is so called because
of the pattern

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of notes in the bass going like this from
C to F, B to

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E, A to D, G to C, so you're going down
fifths.

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[MUSIC]

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And if you put root position chords on top
of that in

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the context of the key of C, it would
sound like this.

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[MUSIC]

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[I'll play that again.

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[MUSIC]

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Here we are in, the same thing in G,

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circle of fifths in G, all root position
chords.

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[MUSIC]

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Now let's here it with some real music.

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I mentioned the composer Vivaldi.

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Well, here's an example of a short piece

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by Vivaldi from his Concerto Grosso Opus
3.

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And he uses a circle of fifths, and it
sounds like this.

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[MUSIC]

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And here's the music again.

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You find exactly the same pattern of
chords in the popular song, Autumn Leaves.

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Again, all the chords are in root
position.

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This time, we're in G-Minor.

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And it goes like this.

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[MUSIC]

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Here's the circle.

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[MUSIC]

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So far the circle of fifths we've had have
been with chords in the root position.

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But the circle of fifths also works with some of
the cords in first inversion.

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Here's G-Major.

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[MUSIC]

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G-Major again.

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[MUSIC]

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You don't see the pattern of fifths in the
bass because some of the chords

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are in the different inversion because the
second

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fourth and sixth chords are all first
inversion.

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But it's the same chords so instead of,

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[MUSIC]

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We have

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[MUSIC]

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And again, I'll play the whole thing.

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[MUSIC]

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And finally, the circle of fifths is

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sometimes used to modulate to a different
key.

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Depending on how you arrange things, you
can

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actually use the circle of fifths to
change key.

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So for example, if we're in C-Major.

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[MUSIC]

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And we want to go to A-Minor, we might do
this.

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[MUSIC]

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The all important G-Sharp,.

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[MUSIC]

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Which is the leading note of A-Minor,
pulls us towards A-Minor but

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we have the circle there in the bass, once
again C-Major to A-Minor

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[MUSIC]

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>> Or, we might want to go to G-Major.

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So, if we start again in C.

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[MUSIC]

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The important thing there, is that the
first fifth is not perfect.

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It doesn't go F, it doesn't go C, F.

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It goes C, F Sharp, and that pulls around
to G.

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So, here we are, again.

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C Major to G Major.

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[MUSIC]

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