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Cello Lessons: Chord Relationship: V7-I (Circle of 5ths)

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[MUSIC]
In western harmony, the umbrella term for
most of classical music and jazz,
anything that's sort of evolved
in the Western Hemisphere,
the relationship of the five chord
to the one chord is key, okay?
So we've learned two chord scales already,
Ionian and Myxolydian,
which are associated with the one and
five chords, okay?
So we're gonna practice this
relationship between five and one,
by arpeggiating both of these chords.
In the key of C, the five chord is G.
So the five chord will have
a Myxolydian arpeggio,
a dominant seven arpeggio.
[MUSIC]
With a flat seven.
[MUSIC]
And then C major
[MUSIC]
comes right after it.
[MUSIC]
By putting a dominant seven arpeggio and
then the major seven arpeggio
right next to each other,
we have cadenced in the key of C.
The way we're gonna practice this,
is by doing that exact same chord paring,
through the circle of fifths.
So because the five one relationship is so
important, if we keep going down a fifth,
if from C [SOUND] we go down a fifth
into F [SOUND] and do a five chord,
which is a C-dominant seven, and then F,
[MUSIC]
we can keep going around the whole
circle of fifths, and
make it through all 12 keys.
So with the metronome on two and four,
I'm gonna arpeggiate up and down the five,
seven, to one in all 12 keys.
I'm gonna go though all of them in
a routine that you can play along with me,
but let me just play you
the first couple of keys, so
you understand how it's gonna work.
The first key is gonna be C, and
I'm gonna demonstrate G seven and
C major seven arpeggios.
[MUSIC]
That's C major.
Now the next key is down a fifth to F,
and the five chord of F,
is actually also based on C.
So after I play the C
major seven arpeggio,
[MUSIC]
I'm gonna go straight to the C dominant
seven arpeggio.
I'm gonna make the B go to a B flat,
to flat the seven,
and then from there, I will go to the F.
[MUSIC]
And I'll do the same, F seven,
then to B flat major.
[MUSIC]
So we're gonna keep turning these major
seven chords into dominant seven chords,
as we play this routine.
Let's give it a shot.
Metronome's on two and four.
One, two, three, four,
one, two, ready, go G seven.
[MUSIC]
We're
back
to G,
which
is our
last
one,
cuz
that
turns
in to
the
five of
C.
We made it all the way around.
When I practice this first,
it's really actually hard to remember
what key you're gonna go to.
So often times, I would try and
verbalize the next key.
I would say, C major, and then I would
verbalize each chord within the key.
I would say, C major, G seven,
[MUSIC]
to C, going to F major, C seven,
[MUSIC]
F, going to B flat major, F seven.
[MUSIC]
And basically just trying to verbalize and
really internalize these relationships,
that can help.
It actually is hard to coordinate,
and you might end up saying
the wrong chords all the time.
But try it slowly, and
it can help really internalize
these five to one relationships.
[MUSIC]