WEBVTT 00:00:00.000 --> 00:00:01.449 align:middle line:90% [SQUEAKING] 00:00:01.449 --> 00:00:02.415 align:middle line:90% 00:00:02.415 --> 00:00:03.847 align:middle line:90% [RUSTLING] 00:00:03.847 --> 00:00:04.347 align:middle line:90% 00:00:04.347 --> 00:00:05.313 align:middle line:90% [CLICKING] 00:00:05.313 --> 00:00:10.640 align:middle line:90% 00:00:10.640 --> 00:00:11.360 align:middle line:90% PROFESSOR: Great. 00:00:11.360 --> 00:00:15.210 align:middle line:84% So up until now, you've been doing what I've asked you to do. 00:00:15.210 --> 00:00:18.720 align:middle line:84% Now it's time to put your imagination on display. 00:00:18.720 --> 00:00:21.590 align:middle line:84% You've noticed that we've only been working 00:00:21.590 --> 00:00:27.540 align:middle line:84% with major scales and triads and all kinds of things like this. 00:00:27.540 --> 00:00:29.300 align:middle line:90% But what else could we do? 00:00:29.300 --> 00:00:33.540 align:middle line:84% Well, we could be thinking about the other important scale, 00:00:33.540 --> 00:00:35.660 align:middle line:90% the minor scales. 00:00:35.660 --> 00:00:38.960 align:middle line:84% And we'll remember that the minor scales have not just one 00:00:38.960 --> 00:00:43.070 align:middle line:84% form, but at least three forms, the natural, the harmonic, 00:00:43.070 --> 00:00:44.520 align:middle line:90% and melodic minor. 00:00:44.520 --> 00:00:47.090 align:middle line:84% I want you to think for a second, which 00:00:47.090 --> 00:00:50.960 align:middle line:84% one of these scales is most attuned to writing out 00:00:50.960 --> 00:00:52.570 align:middle line:90% the harmonies of Roman numerals? 00:00:52.570 --> 00:00:57.410 align:middle line:90% 00:00:57.410 --> 00:00:58.440 align:middle line:90% That's right. 00:00:58.440 --> 00:01:00.360 align:middle line:90% It's the harmonic minor form. 00:01:00.360 --> 00:01:04.160 align:middle line:84% So that's what you're going to be most thinking about here. 00:01:04.160 --> 00:01:06.870 align:middle line:84% Why do we have to restrict ourselves to triads? 00:01:06.870 --> 00:01:10.450 align:middle line:84% Why can't we do seventh chords or a ninth chords or 11th chords 00:01:10.450 --> 00:01:11.810 align:middle line:90% or something else? 00:01:11.810 --> 00:01:15.650 align:middle line:84% So we have to think about returning Roman numerals like V 00:01:15.650 --> 00:01:24.250 align:middle line:84% 7 or half-diminished 6 5 or IV 4th 2. 00:01:24.250 --> 00:01:26.200 align:middle line:84% While we're at it, why do we think 00:01:26.200 --> 00:01:30.850 align:middle line:84% that all chords have to be part of the scale that's 00:01:30.850 --> 00:01:31.940 align:middle line:90% being played? 00:01:31.940 --> 00:01:36.640 align:middle line:84% So why can't we return flat 3 in C 00:01:36.640 --> 00:01:41.050 align:middle line:84% major for the major triad beginning E-flat, G, B-flat? 00:01:41.050 --> 00:01:44.830 align:middle line:84% For those who have taken 302 or 303 and 304, what 00:01:44.830 --> 00:01:46.880 align:middle line:90% about secondary dominants? 00:01:46.880 --> 00:01:50.530 align:middle line:84% Or what about thinking about Neapolitan chords 00:01:50.530 --> 00:01:52.700 align:middle line:90% or augmented sixth chords? 00:01:52.700 --> 00:01:56.020 align:middle line:84% Can you return a French 4/3 chord? 00:01:56.020 --> 00:02:00.400 align:middle line:84% And why are we sticking in the realm of music-analysts chords, 00:02:00.400 --> 00:02:01.640 align:middle line:90% like Roman numerals? 00:02:01.640 --> 00:02:03.520 align:middle line:84% Why not think about the chords that people 00:02:03.520 --> 00:02:07.190 align:middle line:84% use very often, like jazz and pop chord symbols, 00:02:07.190 --> 00:02:13.120 align:middle line:84% where you might have a Cm for C minor or Csus4 00:02:13.120 --> 00:02:18.060 align:middle line:84% for the particular sustained a chord that appears there. 00:02:18.060 --> 00:02:20.760 align:middle line:84% If you know how to use jazz symbols, why not use them? 00:02:20.760 --> 00:02:24.320 align:middle line:84% And if you've taken Baroque music or medieval 00:02:24.320 --> 00:02:25.940 align:middle line:84% and Renaissance music, you might think 00:02:25.940 --> 00:02:27.410 align:middle line:90% about figured bass symbols. 00:02:27.410 --> 00:02:32.090 align:middle line:84% They're a whole new world unto themselves. 00:02:32.090 --> 00:02:35.990 align:middle line:84% And this should just be the beginning of what 00:02:35.990 --> 00:02:38.720 align:middle line:90% your imagination can make. 00:02:38.720 --> 00:02:41.730 align:middle line:84% So for your final part of this assignment, 00:02:41.730 --> 00:02:44.640 align:middle line:84% I want you to make an open-ended extension. 00:02:44.640 --> 00:02:46.685 align:middle line:84% You're going to write and document, 00:02:46.685 --> 00:02:50.360 align:middle line:84% a very, very important document, an interesting extension 00:02:50.360 --> 00:02:52.640 align:middle line:84% to the problems above according to what 00:02:52.640 --> 00:02:53.910 align:middle line:90% you've seen in the video. 00:02:53.910 --> 00:02:56.330 align:middle line:84% So go ahead and call your extension 00:02:56.330 --> 00:02:59.280 align:middle line:84% whatever you want and test your extension. 00:02:59.280 --> 00:03:02.060 align:middle line:84% Show me that you have really seen 00:03:02.060 --> 00:03:07.547 align:middle line:84% what your extension is supposed to do and what it can do. 00:03:07.547 --> 00:03:08.880 align:middle line:90% And you're going to do all this. 00:03:08.880 --> 00:03:12.270 align:middle line:84% Don't spend too much time on this, but spend some time, 00:03:12.270 --> 00:03:15.500 align:middle line:84% because asking your own questions 00:03:15.500 --> 00:03:18.140 align:middle line:84% is a great way to understand what's 00:03:18.140 --> 00:03:22.600 align:middle line:84% going to be asked at the end of the semester research project. 00:03:22.600 --> 00:03:26.000 align:middle line:90%