So we've had practice already, earlier on
building triads
on all the degrees of the major and minor
scale.
But now we know that we that we don't
have to build chords with just three notes
in them.
We now know about four-note chords, so
what we wanted to do was
just spend a bit of time building four-note chords up from the triad.
Missing out every other note but
continuing on.
So we got the first on we missed out on
one we've got
another one we miss that one, we've got
another one, we miss that one.
And then put another one in as well.
We're going to do that for every scale
degree and
see what quality of chords emerge when we
do that.
>> So we start on a major key, first of
all.
And again, we're going to use C - just
because it's
a nice easy one to show on the piano.
[MUSIC]
So as Nikki said, we've got the 1st
degree, 3rd degree, 5th degree, and the
7th degree.
And actually what we is we've got
the major triad that we're familiar with,
[SOUND]
but we've also got the interval of a major
7th from the root to the 7th.
The major triad with the major 7th is a
major 7th chord.
[MUSIC]
Okay, the chord on, the chord built on the
2nd degree is minor triad with a minor 7th
we're
going to call that a minor 7th chord
that's the
same for chord C we've got a minor 7th
chord.
[MUSIC]
Chord 4, we have a major 7th chord.
So we got a major triad with F to E in
this case which is a major 7th on the outside.
So it's a major triad with a major 7th, so
major 7th chord.
Then we got a major triad, but this time
we've got a major triad with a minor 7th.
And this is called a dominant 7th chord.
It goes down to the 7th chord because
it's, it's a 4th-note chord
built up from chord 5 from the dominant
and it's the one that you recognize.
It's the dominant 7th chord and it's got
important features in it.
It's got a three, a four that wants to
move to
a 3 and a 7 that wants to move to a 1.
The reason that it's got that going on is
because that's where the semitones fall
and you'll remember that.
So, [SOUND] we want it wants to resolve
- it wants
to take us back to tonic and that's what
distinguishes it.
[SOUND].
>> Okay, so that's chord five and remember
we talked about that having a very
important function.
Moving onto six, we've got a minor triad,
again with a minor 7th.
We now know that this is a minor 7th
chord.
And then if we move to chord 7, we said
that that was a diminished triad and it
is but actually when we add the 7th on
we have minor 7th between the root and the
7th.
So diminished triad with a minor 7th is
what's known as a half diminished chord.
So, let's just reiterate that.
On chord one, we've got major 7th.
Chord two, we've got minor 7th.
Chord three, we've got minor 7th.
Chord four, we've got major 7th.
Chord five, we've got that all important
dominant 7th.
Chord six, we've got our minor 7th.
And chord seven is a half diminished
chord.
We've included some supplementary material
that
not only explains this, but also shows
you some chord symbols that are used
particularly in pop music and jazz.
>> All right, that was the major scale,
that was
building 7th chords on every single degree
of the major scale.
So now you know what we're going to do,
we're going to do the same
thing again but building 7th chords on
every degree of the harmonic minor scale.
We'll use A minor.
>> Okay, so if we look at this, we know
we've got a minor triad.
Actually, if we use a harmonic minor,
we've got a
major seven, so we're going to call this a
minor major 7th.
Okay, moving on, we've got half diminished
chord, so that a minor triad with.
Sorry that's our diminished triads with a
minor 7th.
That's half diminished.
Moving on, we've got that nice augmented
sound that we got when we built
the triad on chord three, but this time we
got a major 7th with it.
So this is an augmented major 7th.
[MUSIC]
Chord four.
We get our minor triad with a minor 7th,
so it's a minor 7th chord.
Chord five, we've got a major triad with a
minor 7th.
We've spoken about this as being our
dominant 7th chord.
>> So, as in the major scale, [SOUND]
we've
got that same pattern of intervals which
contains in it.
Those two important pulls, it got a seven
that wants to move to a one.
And its got a four that wants to move to a
three, as well as thinking about it in its
key context.
So, here I've got this chord chord five
with a 7th
on it and it wants to move to this chord
one.
When it does that, it's got a pull.
Or it's got this pull.
It wants to resolve in that fashion.
>> This is really important.
This is why dominant's so important within
the key.
So it's called five dominant 7th.
moving to chord 6th.
We've got a major triad with a major 7th,
so we get a major 7th chord.
[MUSIC]
And then we've got a diminished triad, but
with
a diminished 7th and this is called
diminished 7th chord.
Okay, so let's just reiterate that.
If we go back to chord one, [SOUND] we've
got a minor major seventh.
Chord two, [SOUND] half diminished.
Chord three, [SOUND] augmented major
seventh.
Chord four, [SOUND] minor seventh.
Chord five, dominant 7th.
Chord six, major 7th.
And chord seven is our diminished 7th
chord.
>> So, let's sum up.
Back in lecture 2, you heard how a given
scale can lead our ears to hear one
note after the whole scale as being the
most
important or defining note as being the
key note.
In this lecture, we've seen how a similar
perceptual effect can
happen with groups of notes with, with
triads and with chords.
>> So we started off by looking at triads
and
looking at how the notes work together to
give us quality.
So we said things like the chord was
major.
Or minor, or augmented, or diminish.
And then we took that one step further by
adding
another degree, we added the seventh, so its a
four-note chord.
And we looked at the qualities that we 
got from these chords.
>> So finally, what we're seeing in this
lecture is how the putting
together those courts can give us a
really important and very strong
structural effect.
How the harmonic structures that arise, from especially chords
like the tonic, the
dominant, and the sub dominant had these,
really commonly used together.
To create overall structures, that
reinforce our sense of key,
that reinforce our sense of, of, of
tonality, of tonal center.
And we've seen how other chords can be
used
to, to elaborate and and extend that
harmonic structural experience.
>> So, just remember to have a look at
the supplementary material that is on this lecture's webpage.
In the next lecture, what you're going to
go on to do
is look more at chords within keys and how
they actually work together.
[BLANK_AUDIO]
