The subdominant, that's chord four, often appears before chord five and it sort
of extends the whole structure that we've
described with those perfect and imperfect cadences.
>> But it's not just in big pieces of,
of work from the common practice era that we see this.
In fact, any diatonic melody, we can take and
harmonize it with chords one, chords four or chord five.
Since every single scale degree actually occurs in chord one, four or five, we
can use these chords in conjunction with melodies built from this pool of notes.
>> There's a lot more to say and we will go on
soon, but first we have to carry on with our triad building exercise.
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>> Okay.
So now we've seen the patterns that come out through triads built in a major scale.
But what happens when we do this with a minor scale?
>> Well, as you've predicted, based on what you know from the major scale,
we're getting a whole new set of
internal regular patterns emerging when we go through.
The triads are built on each degree of a minor scale.
>> We're going to use A minor this time, so,
rather the c major, we're shifting to its equivalent minor.
Starting with chord one.
>> So chord one in A minor.
You've guessed that is a minor, so that's a minor chord, on chord one.
If we move up to chord two, we get a diminished triad.
So it's like, it's like the seventh chord from
a major scale, it's got that same [SOUND] diminished quality.
>> Okay, then if we move on to chord three, we
get something interesting happening here, because we're in our minor key.
Now you'll remember from week two we talked about different types of minors.
We were looking at this just now, we're going to look at the harmonic minor,
and that gives us a new chord on chord three that we've not discussed yet.
So we've got a major third, but if you look at
the distance between the root of the cord, and the fifth.
We've actually got 8 semitones now, which is one semitone
more than the perfect fifth that we've already talked about.
This is called an augmented fifth.
So a chord that has a major third and
an augmented fifth, we're going to call an augmented triad.
>> And you don't realize that this is happening because chord
three has the scale degrees three and five and seven in it.
And you'll remember that what characterized the harmonic minor
scale was it had a sharpened seventh.
>> [SOUND] Okay, moving on to chord four.
We've got a minor triad.
And then going onto chord five, we've got a
major triad, again encompassing the G sharp that was important.
We now have our major triad.
We move onto chord six, we've got a major triad.
[SOUND] And then we go to seven.
We're back to another example of a diminished triad.
[SOUND] and back to the tonic again.
>> Okay, so the properties that we get from
the triads that we're building in the harmonic minor
scale give us a really distinctive set of of
distinctive set of, of patterns, of triads that emerge.
We've got a mix of diminished, we've now got augmented and
we've also got that major fifth happening on, on, on the
when we buildup from the, from the fifth degree of the scale because
we've got that leading note because we've got that sharpened seventh.
So, it's really unambiguous.
So, moving around in different keys, that pattern of triads
would emerge from any key notes using a harmonic minor scale.
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