>> With our scales so far, we've been working sequentially.
In a linear fashion, sounding one note at a time.
But in fact, it's very common for music to sound notes, at the same time.
Just now when we were playing, Zack was playing, chords on the piano.
>> So this is what we're going to go and look at now.
But, before we do, it's going to be important
to recap, the difference between our C major
scale, and our A (Aeolian) mode, the natural
minor, the scale that we built from six degree.
So, here you have our C major scale.
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And then, if we start from the sixth degree of that
scale and say this, play the same pool of notes, we get.
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Which we called out natural minor or The Aeolian mode.
>> Right, remembering how God Rest Ye Marry
Gentlemen, did sound different from the major scale.
Let's have a look at some important relationship ships within this.
So looking at the, natural minor scale, the A minor scale.
Looking from A to E.
that's the note- the tonic up to note number five.
I can count tone, semi tone, tone, tone.
That would be three tones and one semitones.
If I break that down into semi tones, that will
be one, two, three, four, five, six, seven semitones.
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That's the sound of the seven semitones A to E.
Okay, and back to the C major.
If I do the same thing and start on the tonic C and go
up to note number five which is G, I get tone, tone, semitone, tone.
The same except that the tones and semitones are in a different order.
But again, I'm getting seven semitones.
Let's hear those.
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The C to G.
>> That one's from C to G.
And then, from A to E.
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>> Right.
So, A and E to, and C to G both have the seven semitones.
They're the same.
That interval was called a Fifth.
And in fact, we can now give it a quality and say it's a Perfect Fifth.
And note also that the two notes sound nice together.
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Now, going back to A, let's now have a look at A to C.
This is note one to three, the interval of third.
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Here, we get a tone and a semitone, so that adds up to three semitones
however if I start on C and go from C to it's third note which is E.
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I get two tones, which adds up to four semitones and there is the difference.
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The second one, is the C Major chord.
And when you hear it, you'll probably find,
it's very natural to hear the major scale.
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So there, looking again at our C major scale, we now isolate the
three notes the C, E and G and then we stack them up vertically.
Like this, and that is the C major triad.
Now, there are other ways of writing this.
If you play a lot of Rock music or
Jazz, you're used to using something called a lead sheet.
Where instead of writing the chords out with notation, as you can see here.
We use chord symbols. There are several different chord symbols: so for C major
it could simply be shown with a capital C like this, or
Cmaj, abbreviated for C major, or a capital C and a capital M.
All of those could be used, in different kinds of music.
Now, going to the A minor, the A
natural minor scale, again, we'll do the same trick.
We'll isolate the three notes of the A minor triad, so that's A, C, and E.
And again, we'll stack them up vertically to show the A minor triad.
And again, if you were using a lead sheet, this could be shown
with an Amin, short for minor,
or A little m, or A with a minus sign, that you'll find in jazz.
So if we take one, three, five starting on C and the key of C Major.
We've got C E G.
Now, we know that we've got seven semitones between the C and the G.
So it's a Perfect fifth.
And we've got four semitones between the C and the E, and that's a Major third.
Now because this has got three notes, it's a triad.
It's a simplest type of chord and what we're going to see is that a triad that
has a Perfect fifth and a Major third is a Major triad.
Let's start it on D.
We've got one three five.
D F A.
Now again, we've got seven semi-tones between the D
and the A, which gives us a Perfect fifth.
But this time, we've only got three semi-tones between the D and the F.
So this gives us a Minor Third.
Again, because it's got three notes, we're going to say that this is a triad.
But this time, we have a Perfect fifth and a Minor third.
So, we have a Minor triad.
Let's move on to E.
Again, we've got a perfect fifth between E and B, and our third this
time is G, which is a minor third, so we get a minor triad.
Move on to the fourth degree in this case, which is F.
We've got F A C so we've got, a Perfect fifth.
This time we've got a Major third, so, this is a Major triad.
G, B, D, it's built on the fifth.
So, we've got G to D, which is a Perfect fifth, G to B, which is a Major third.
So, in this case we get, a Major triad.
In each case, the name of the Major triad, is the same as the tonic.
So, this is the G Major triad.
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If we go to the sixth degree, we already know this one, this is A, C, E.
So we got our Perfect fifth and then we've
got our Minor third, so we've got a, Minor triad.
The A minor triad.
Now, the next one that we need to look at, starts with B, and we've got B, D, F.
Now, some of you already, may be aware that that sounds different but
what we've got between B and F is actually only six semitones this time.
So, it's one semitone smaller than the Perfect fifth.
Now we actually call this a Diminished fifth
and we're going to talk more about this next week.
But we have a Diminished fifth and we've got a Minor third.
Now, a triad with a Diminished fifth and Minor third, is called a Diminished triad.
So, it sounds different and it has a different structure to the
rest of the chords within the key because of the, Diminished fifth.
So again, if you're a keyboard player, try them for yourself now.
Even if you're not, grab your keyboard app or even have a look at a
picture of a piano keyboard, just so you can work out where the notes fall, how
we're going to build the chords, and just think about the nature of the fifth and
the nature of the third and the quality, as we would say in music theory terms.
And from that, you can determine which type of triad, you
would be able to play, on each degree of this scale.
>> So, that last chord that Zack just showed
us, the B Diminished, looks like this, in notation.
And using lead sheet symbols, it could be written
as this, a B with a little zero after it.
Or B Dim, short for Diminished.
And what Zack's just shown us, in this last segment, are
all the triads that we can derive from C major scale.
And here they all are again.
And you can also find these in your handout, print them out and look at them
which you need to do, because you should sit down at a piano and play through them.
Just again looking at them, we can see that there are three major
chords the C major, the F major and the G major, so these three
chords all have the same internal relationship
between the three notes and then we
have three minor chords the D minor, the E minor and the A minor.
And again, they have the same internal relationship with each other.
And then we found this one, other different chord,
the B Diminished chord, which will be important later.
So, that's three kinds of chords from one set of white notes.