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You probably know a few songs that use those three chords.
The 1 chord.
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The 4 chord.
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And the 5 chord.
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So the 1 chord is built on Do and the solfage is Do Mi So.
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The 4 chord is built on Fa and the solfage is Fa La Do.
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And the 5 chord is built on So.
Solfage is So Ti Re.
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Let's talk about each of these chords.
So the 1 chord is home base, just like Do in the scale is home base.
Everything is built around Do.
So this is our big resolution.
To get to Do we feel that sense of rest and resolution.
The 1 chord.
The 4 chord is a subdominant chord.
It has Fa in the chord.
And remembering our tendency tones, we know that Fa is an unstable tone.
It likes to go to Me.
So typically, when we have a 4 chord--
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--we could resolve to the 1 chord.
Fa to Me.
Fa in the 4 chord to Me in the 1 chord.
The 4 chord to the 1 chord--
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--is known as a subdominant cadence or a plagal cadence.
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And when we have the 5 chord--
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--we know this as a dominant cadence.
5--
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--to 1.
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Here comes the bride.
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Very common 5 to 1.
Sometimes we have a 5-7 chord.
So 5-7 involves adding one more note to the triad--
the seventh of the chord.
So instead of So Ti Re--
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--we'll have So Ti Re Fa.
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When we have the Ti resolving to Do in the 1 chord and the Fa resolving
to Mi in the 1 chord--
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--we get that tritone resolution.
So when you have a 5-7 chord--
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--it really is begging to go to that 1 chord.
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The Ti wants to go to Do.
Fa wants to go to Mi.
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Another chord when dealing with 1-4-5 is the sus chord-- the 5 sus chord.
So in this case, we take the third of the chord--
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--Ti and we replace it with the sus 4, in which case from So to Do
is the fourth.
So we'll have instead of So Ti Re--
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--So Do Re.
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And that too is an resolved sound.
So often, the sus chord precedes--
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--the 5 chord--
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--like so.
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Creates a little more color, a little more interest there instead
of going right to the 5 chord.
So there's a quick review on--
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--1-4-5.
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