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Minor music keys4/5/2023 > And this is one leads our ears to the Tonic. The 5th degree of this scale is called the Dominant and the 7th degree of this scale is called the Leading Note. > So, just to recap from previous lectures, we now know that the 1st degree of this scale is called the Tonic. Raised by a semitone, from an A to an A-sharp. And actually the 7th degree of a scale is called the Leading Note. Really led our ears to B, being the new tonic. So instead of an A natural, as we had when we derived the scale from D-Major, we have an A-Sharp and actually, what we heard was that this. > So the note that we changed was the 7th degree. We only changed one note, but the result of that one change was to give us a scale that showed us how B really is our new tonic. > Now that minor scale had a really different feeling to the natural minor that we started with. And that's inevitably going to pull us back to D. And this goes back to what we talked about in the previous section, whereby it's actually not just the notes that are available to us, but it's the special relationship that they have, and the environment, the sonic environment that they create. > So D really feels the point of which the music has come to rest that we feel comfortable with this as being the center of the key and the whole note. And the results of that, is that although we can start and end on B if we want to, we could easily, just as easily, end on D and we'd be back feeling as though D was still our tonic. Where, where we're only using exactly the notes of D Major but rearranged from B to B. The reasons that we've got a few different variations on that, is partly because of the transition we made from D to the relative Minor B, there in the natural form. Now we mentioned that there's a couple of different types of minor scale that are in use. > What we got to produce that B minor, was all the notes of D major, but just rearranged with B as our new tonic. We get B, C-sharp, D E, F-sharp, G, A, B. We keep them, but we're just going to start the whole sequence on B. So if we take the sharps that belong to D major, F-sharp and C-sharp. > So, from this degree that we're going to build our relative minor scale. > So if we take D major example with it's F-sharp and its C-sharp, we're going to start building up from D. Now, every minor scale is related to a major scale and if we look at that major scale, it just so happens that the sixth degree, is the degree that the minor scale is built from. And this is because there's more than one version of a minor scale. One of the easiest ways to do that is to start thinking about minor scales, although this is slightly problematic, because when we talk about minor scales, we're talking about something less concrete, the major scales. And how we work out what major keys they're related to. > So this music we need to have a think about what we actually mean by minor keys. It represents the major key and it represents the related, the relative minor key. Every key signature actually represents not one, but two keys. This applies equally to the, to minor scale systems as it does to major scale systems. The key signatures that we already learnt, and the way they're constructed from collections of sharps and collections of flats. So we don't have to learn an entirely new system of building these key signatures. > But, it's the same key signature system that we're using. And actually for minor keys, there's 12 distinct tonics that we can build these from as well. Now, when we're looking at the circle of fifths, we noticed that there were 12 distinct tonics that we could build our major scales from. > Now a lot of you watching this video might have already realized, but we've only really given half the picture here because we're only talking about major keys, and the thing that we've neglected to talk about up until now is minor keys. > We were saying things like, the two Sharps, F-sharp, and C -sharp, so we must me in D-major, or there's three flats, B E, A flats. In the last section we were talking about key signatures, and whenever we did that, we were talking about major keys.
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