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In music, we find that certain patterns of
chords,
what we call chord progressions, recur
frequently particularly at cadences.
And we remind ourselves, of course, of the
commonest cadence, Ic V I.
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>> Which sometimes, is, enhanced by, a
dominant seventh, on the the second last
chord.
So we hear this.
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>> So a seventh, is added to the dominant
chord, which serves to
pull the music strongly towards the tonic,
so it's a very strong
progression and gives a pleasing finality
to the cadence.
You find in lots of music, for example the
well
known carol, Hark the Herald Angel sing
goes like this
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>> Or Happy Birthday To You.
It goes like this.
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And that's possibly the commonest of the
cords progressions and cadences.
Another cadential progression which we
often find in,
involves a different cord in the third to
last
position instead of the one C, we find two
B and often with a seventh added chord.
Let's stick to G-Major.
There G Major.
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Chord two.
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The supertonic sounds like that.
We add a seventh to it.
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And then we put that in first inversion.
So, we rearrange the notes in this order.
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And that's our third to last chord.
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I'll just play that one once again.
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In addition to these and other
cadential progressions, are recurrent
patterns of chords.
We find chord sequences.
The most common of these sequences is
called the
Circle of Fifths, which I think has
already been mentioned.
And this is a very important particular
pattern.
And it's found in 18th century music, by
composers like Vivaldi, writing
in early 18th century Venice, but also in
later music of all sorts.
The circle of fifths is so called because
of the pattern
of notes in the bass going like this from
C to F, B to
E, A to D, G to C, so you're going down
fifths.
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And if you put root position chords on top
of that in
the context of the key of C, it would
sound like this.
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[I'll play that again.
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Here we are in, the same thing in G,
circle of fifths in G, all root position
chords.
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Now let's here it with some real music.
I mentioned the composer Vivaldi.
Well, here's an example of a short piece
by Vivaldi from his Concerto Grosso Opus
3.
And he uses a circle of fifths, and it
sounds like this.
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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.
Again, all the chords are in root
position.
This time, we're in G-Minor.
And it goes like this.
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Here's the circle.
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So far the circle of fifths we've had have
been with chords in the root position.
But the circle of fifths also works with some of
the cords in first inversion.
Here's G-Major.
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G-Major again.
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You don't see the pattern of fifths in the
bass because some of the chords
are in the different inversion because the
second
fourth and sixth chords are all first
inversion.
But it's the same chords so instead of,
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We have
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And again, I'll play the whole thing.
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And finally, the circle of fifths is
sometimes used to modulate to a different
key.
Depending on how you arrange things, you
can
actually use the circle of fifths to
change key.
So for example, if we're in C-Major.
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And we want to go to A-Minor, we might do
this.
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The all important G-Sharp,.
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Which is the leading note of A-Minor,
pulls us towards A-Minor but
we have the circle there in the bass, once
again C-Major to A-Minor
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>> Or, we might want to go to G-Major.
So, if we start again in C.
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The important thing there, is that the
first fifth is not perfect.
It doesn't go F, it doesn't go C, F.
It goes C, F Sharp, and that pulls around
to G.
So, here we are, again.
C Major to G Major.
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