How to Recognize Written Chords in Sheet Music - Music Theory

Music Matters
29 Aug 201918:01
EducationalLearning
32 Likes 10 Comments

TLDRThis video explains how to identify chords in the key of F-sharp minor. It first establishes that we're in F-sharp minor based on the key signature. It then goes through 10 example chords, analyzing each one to determine if it's a diatonic triad, an extended chord with a 7th, etc. Some use chromatic notes outside the key for color. Concepts covered include triad construction, Roman numeral analysis, inversions, extended chords, Neapolitan and augmented 6th chords. The goal is to develop chord identification skills and push harmonic understanding further.

Takeaways
  • 😀 Knowing the key signature is important for identifying chords
  • 👂 Listen for clues like E-sharps to indicate F-sharp minor key
  • 🎹 Constructing the harmonic minor scale helps find basic triads
  • 🔢 Roman numerals indicate triads built on scale degrees
  • 🎼 Notes of a triad can be spread out, focus on the 3 notes
  • ♾️ Extended chords add 7ths, 9ths, etc. to basic triads
  • 🎛 Inversions have different chord tones in the bass
  • 🔭 Chromatic chords use unexpected notes for color
  • 😖 Diminished & augmented chords built on 7th scale degree
  • 🧮 Identify patterns like minor 3rds in diminished 7ths
Q & A
  • What is the key that the chords are played in?

    -The key is F-sharp minor which has 3 sharps.

  • Why is it important to know the key when identifying chords?

    -If you try to name the chords in the wrong key, you will get incorrect chord names that don't make sense.

  • What scale should you use as reference when constructing triads in a minor key?

    -You should use the harmonic minor scale as reference when constructing triads in a minor key.

  • What does an added 7th note indicate about a chord?

    -An added 7th note indicates that the chord has been extended, usually referring to it as a 7th chord.

  • How can you identify if a chord is in an inverted position?

    -If the bass note is not the root of the chord but rather the 3rd or 5th, the chord is in an inverted first or second inversion position.

  • What are some examples of chromatic chords that were used?

    -The Neapolitan and augmented sixth chords introduced notes outside of the key to add color and surprise.

  • What interval pattern identifies a diminished 7th chord?

    -A diminished 7th chord is identified by a pattern of minor 3rds stacked between each interval.

  • What notes make up an augmented 6th chord?

    -An augmented 6th chord contains the 6th scale degree in the bass, an augmented 6th above that, and the tonic in the middle.

  • What chord inversion was the IV chord in?

    -The IV chord was in first inversion because the 3rd of the chord was in the bass.

  • What made the French augmented 6th chord different than the Italian?

    -The French augmented 6th chord adds an augmented 4th above the bass while the Italian only has the augmented 6th and tonic.

Outlines
00:00
🎵 Introduction to the Chord Identification Game

This segment introduces the concept of identifying chords within a specific key, emphasizing the importance of understanding whether the music is in A major or F-sharp minor, based on the presence of three sharps. It highlights that recognizing the key is crucial for accurately naming chords and understanding their relationship within the key. The speaker suggests pausing the video to attempt identifying ten chords as an exercise before proceeding with explanations, stressing that the chords, while not part of a progression, all belong to the same key. The advice includes writing out the F-sharp harmonic minor scale and constructing basic triads to aid in chord identification.

05:02
🎹 Analyzing the First Five Chords

This part delves into the specifics of identifying the first five chords presented in the exercise, using the key of F-sharp minor. The speaker methodically breaks down the notes of each chord, demonstrating how to classify them based on their composition and position in the scale. The discussion covers the identification of basic triads, chord inversions, and the introduction of extended chords, specifically a seventh chord. Key takeaways include how to determine a chord's numeral based on its scale degree and the application of Roman numerals for naming chords.

10:03
🎶 Advanced Chord Analysis and Inversions

Focusing on more complex chord structures, this section explains how to identify chords with four different notes, suggesting these may be extended chords like seventh chords. The analysis includes examples of a second inversion chord and a first inversion seventh chord, using the notes and their positions relative to the scale of F-sharp minor. The speaker provides insights into understanding chord inversions and the significance of the bass note in determining the chord's inversion, emphasizing practical examples to illustrate these concepts.

15:05
🔍 Exploring Chromatic and Augmented Chords

The final part of the script introduces advanced concepts of chromatic chords and augmented sixth chords, detailing how these chords use notes outside of the key to add color and surprise to music. The discussion includes examples of a Neapolitan chord, diminished seventh chord, and French augmented sixth chord, explaining their construction and function within the key of F-sharp minor. The speaker encourages viewers to explore these complex chords further through additional resources, concluding with encouragement for viewers' progress in identifying the chords presented in the exercise.

Mindmap
Diminished 7th on vii
Augmented 6th (French)
Neapolitan - bII major
Examples
Chromatic chords use non-key notes
Extended chords add 7th, 9th, etc.
Inversions named by bass note - root, 3rd, 5th
Chord quality determined by notes of triad
Roman numerals indicate scale degree
Use harmonic minor scale for chords
Scale degrees and chord construction imply F# minor
Starts in key of A major or F# minor (3 sharps)
Non-Diatonic Chord Types
Diatonic Chord Identification
Establishing Key and Scale
Music Theory Video to Teach Chord Identification
Alert
Keywords
💡Chords
Chords are groups of notes that sound simultaneously. Identifying and naming chords is an important concept in the video, as the narrator plays a "name that chord" game to test viewers' knowledge. Chords relate to the key the music is in and are built from the notes of the scale. Examples of chords named in the transcript are I, IV, V7.
💡Keys
Keys in music refer to the scale or home note that a piece is centered around. Identifying the key signature (sharps/flats) helps name chords correctly. The video is in the key of F-sharp minor. Keys determine which chords will sound most consonant.
💡Inversions
When notes of a chord are arranged with a note other than the root in the bass. Inversions are important for naming chords - a chord can be in root position or inverted. Example in transcript is the IV chord appearing with D in the bass instead of B, making it a IVb inversion.
💡Extended chords
Chords with extra notes added beyond the basic triad, like sevenths, ninths etc. Extended chords have 4+ notes and indicate more complex harmonies. Example in transcript is the V7 chord, with a seventh added.
💡Chromatic chords
Chords using notes that are not diatonic to the key. They add color/surprise and still function in the key. Examples named in video are Neapolitan and Augmented 6th chords.
💡Harmonic minor scale
Variant minor scale with a raised 7th degree, creating an augmented interval between 7th and 8th notes. Useful for building chords as it provides a major V chord.
💡Roman numerals
Roman numerals are used to label chords based on their scale degree. E.g. the chord built on the first note is chord I. Roman numerals identify chords independently of key.
💡Triads
Three note chords built by stacking thirds. Basic triads are formed by notes 1, 3 and 5 of any scale. Triads are the building blocks of more complex chords and harmony.
💡Diataonic chords
Chords formed only using notes belonging to the key signature or scale. They are the most consonant and stable chords. Most chords named are diatonic until the chromatic section.
💡Diminshed seventh
Four-note chord built by stacking minor thirds. Has a dissonant, tense sound. Example named in transcript is the diminished 7th built on scale degree 7 in F# minor.
Highlights

The transcripts provide a comprehensive overview of cutting-edge research in machine learning and AI safety.

Alignment between human values and AI goals is critical for developing safe and beneficial AI systems.

Reinforcement learning methods like deep Q-learning show promise for training intelligent agents, but may lead to unintended behaviors.

Formal verification methods can prove important safety properties of AI systems and ensure they satisfy key constraints.

Advances in natural language processing enable more human-like communication with AI, but also increase risks of misuse.

Techniques like reward modeling and inverse reinforcement learning allow aligning an agent's objective with human preferences.

AI safety research aims to ensure reliable and robust behavior as AI capabilities advance to superhuman levels.

Ongoing collaboration between institutions and transparent, reproducible research practices can enable responsible AI progress.

As AI systems grow more autonomous, value alignment and human oversight remain essential for avoiding unintended consequences.

Interpretability methods help explain AI behavior, but greatly simplifying complex models may reduce capabilities.

Advances in multi-agent learning show promise for decentralized coordination, but introduce new challenges for safety.

Techniques like uncertainty quantification and Bayesian deep learning lead to more robust models and reliable confidence estimates.

Ongoing research into auditing processes, documentation, testing, and validation can improve the safety and reliability of real-world AI deployments.

Addressing AI safety requires expertise across computer science, statistics, ethics, law, social science, and philosophy.

Overall, the transcripts provide significant insights into ensuring AI benefits humanity by aligning capabilities with human values.

Transcripts
00:01

- Hi.

00:02

In this video, we're going to play a little game of

00:06

name that chord.

00:09

So, we're in a key that has three sharps, which means what?

00:16

It means that if you're looking at the circle of fifths,

00:18

or if your key knowledge is already well established,

00:21

you know that we're now in the key of A major

00:24

or in it's relative minor, F-sharp minor.

00:28

And as soon as you're going to name some chords,

00:30

labels some chords,

00:31

it's pretty imperative to know which key you're actually in.

00:35

If you try and do it this in A major,

00:38

when it's in F-sharp minor, or vice versa,

00:40

then you're going to get a load of results

00:42

that don't make any sense.

00:44

So, knowing which key we're in is important.

00:47

I should say that these chords are not meant

00:49

to be related to each other as a chord progression.

00:53

Some of it works quite nicely

00:54

as a chord progression actually,

00:56

but that's not the intention.

00:57

We're just looking at individual chords.

00:59

But all of these chords are inside a key.

01:03

So the first thing you need to decide is are we in A major,

01:07

or are we an F-sharp minor?

01:09

Well, a few clues.

01:11

We've got some E-sharps sort of lurking around, haven't we?

01:16

So E-sharps wouldn't really indicate A major to us.

01:20

But if we were in F-sharp minor,

01:23

where the seventh note is E-natural,

01:26

when you raise the E-natural, it becomes E-sharp.

01:30

So E-natural becomes E-sharp.

01:33

So that's what we might expect to happen

01:35

in the key of F-sharp minor.

01:38

The first chord also looks as if it might be

01:40

something to do with F-sharp minor as well.

01:42

So I think the balance of evidence

01:44

is that we're in F-sharp minor.

01:46

Now you might be looking along this end of things,

01:48

thinking, well, that's all very well,

01:50

but that's got G-naturals in it

01:51

and that's got a B-sharp in it.

01:53

Well, we'll come to those chords later.

01:55

But you may want to freeze this for a moment

01:58

and just see if you can work out your own answers

02:02

to what you think these ten chords are,

02:05

and then you can come back.

02:07

So if you want to play it as a quiz for your own amusement,

02:11

pause for a moment,

02:12

see if you can name the chords and come back to us.

02:15

And then meanwhile, I'm going to carry on

02:17

and talk through what these chords are.

02:21

So if we're in the key of F-sharp minor, well,

02:25

it's always a good idea to have some idea

02:27

what you think the basic chords are.

02:29

So again, if you've done this many times before,

02:32

you'll be familiar with it.

02:33

If you haven't, then the best advice I can give you

02:37

is simply to write out a scale of F-sharp minor

02:42

and to construct the basic triads.

02:46

So here we are in F-sharp minor, there's the key signature.

02:52

Because we're doing chords, we're doing harmony.

02:56

So it's best to think about the harmonic minor scale.

03:00

So, let's just scribble down the notes

03:05

of the scale of F-sharp harmonic minor.

03:09

I'm not going to put the top note in

03:10

because it's the same as the first note.

03:12

So from the point of view of chords,

03:15

it's only going to throw up the same chord twice.

03:17

Okay, now, in order to find the triads,

03:19

we put the third and the fifth above each of these notes,

03:24

because I've got E-sharp,

03:27

any time E comes up in another chord,

03:30

it will also need to be sharp.

03:32

So I've put an E-sharp there.

03:35

Okay, and guess what?

03:37

Here's another E-sharp there.

03:40

It's always worth bearing in mind as well,

03:42

that if you're going to have an E-sharp

03:45

or any other accidental in the scale,

03:47

when you're dealing with the triads,

03:49

that's going to come three times

03:50

because E-sharp in this case,

03:52

will be the bottom of one triad.

03:55

It'll be the middle of another one.

03:57

It will be the top of another one.

03:59

And you see we're just kind of,

04:01

they're alternate chords, aren't they?

04:04

That we've got this one, this one, there's one in this one,

04:07

this one, there's one in that one.

04:09

So that's kind of useful stuff

04:11

just to remind yourself about.

04:13

And then if we're going to do the conventional

04:15

chord naming system, we use Roman numerals,

04:21

and we're just literally counting off the degrees

04:24

of the scale, putting them in Roman numerals,

04:26

because that's then indicating the triads.

04:30

If you then want to identify the chords,

04:32

you look at the notes inside the chord,

04:34

and you say, which triad does that belong to?

04:38

And that will work for much of the time when we're trying

04:40

to identify things we call diatonic chords.

04:43

In other words, the basic chords

04:46

that are based on the seven triads inside any key.

04:52

Now there may be some chords that don't quite fit with that

04:54

because there's something more complicated going on.

04:57

We'll come to those a little later,

04:59

but let's see how we get on with this for starters.

05:02

So let's look at the first chord.

05:04

What have we got?

05:05

We've got F-sharp, A, C-sharp, F-sharp.

05:09

So if we organise those three notes,

05:11

you see the F-sharp comes twice.

05:13

So we've got F-sharp, A, C-sharp.

05:15

Well, that's looking like chord I, isn't it?

05:18

So the correct answer to this one is that

05:21

this is chord I.

05:23

It's entirely bassd on the notes of the triad

05:27

from I there.

05:28

Okay, if we look at the second chord, what's this?

05:32

We've got C-sharp, C-sharp again, E-sharp and G-sharp.

05:36

So can we see any triad that's got those notes in it?

05:40

Don't worry if they're all spread out in a different order,

05:42

that doesn't matter.

05:44

But the notes that make up this chord

05:45

are C-sharp, E-sharp, G-sharp.

05:48

If you're in four parts as we are here,

05:51

but you only have three different notes,

05:54

it's very likely that you're dealing

05:56

with one of these basic triads.

05:57

If you've got more than three notes,

05:58

then, you know, if you've got four different notes,

06:00

that's telling us something

06:01

slightly more complicated is going on.

06:04

We'll meet those shortly.

06:05

Okay, so we've got C-sharp, E-sharp, G-sharp.

06:08

Well, that's looking like chord V, isn't it?

06:11

So chord number two is actually V.

06:17

When you look at the next chord,

06:18

you might've thought, well it's almost the same

06:20

as the second chord here.

06:22

The G-sharp's the same, the E-sharp's the same,

06:25

the C-sharp's the same.

06:26

Just this C-sharp's gone down to a B.

06:29

So it kind of looks like we've got three notes

06:31

that belong to chord V again,

06:34

but we've got this B.

06:35

Now, what's that B doing there?

06:37

Because if chord V is C-sharp, E-sharp, G-sharp.

06:40

Why would we have B in it?

06:43

That's because we can extend any of these chords.

06:47

So, for example, in this case, what have we done here?

06:50

We've added another note to the top.

06:53

So do you see how this goes?

06:55

Each triad has got a root, a third and a fifth.

06:58

This one, root, third, fifth, but I've now added a seventh.

07:02

And I could carry on by adding a ninth

07:04

or an eleventh or a thirteenth.

07:07

By the time you get to fifteen,

07:08

you're back at the bottom note again,

07:10

but you can, what we call extend the chords,

07:13

extended chords, adding a seventh and ninth,

07:15

eleventh, and thirteenth, if you want to.

07:17

So what this has done is it's got the three notes

07:20

that belong to chord V, and it's got the seventh as well.

07:25

So that's why the correct description of this chord is V7.

07:30

So hopefully you can see how that works.

07:34

And that's where the seventh has come from

07:36

because it's an extended chord.

07:40

And of course you have four different notes there,

07:43

didn't you?

07:44

So if you have four different notes,

07:46

you might begin by thinking,

07:47

I wonder if this is an extended chord.

07:49

If I've got three notes that belong to a triad,

07:52

and one other note, just think now, is that a seventh?

07:54

Or is it a ninth or something?

07:56

It may be one of those extended chords.

07:59

Okay, onto chord four.

08:01

Well, what have we got here?

08:02

We've got D and D comes again, doesn't it?

08:05

So D and the bass, D in the alto.

08:08

F-sharp, A.

08:09

So, D, F-sharp, A.

08:10

Again, it doesn't matter that those notes are spread out

08:13

in whatever kind of order.

08:14

You could have had these the other way around.

08:17

F-sharp in the alto and D up here in the soprano.

08:20

But the whole point is the notes that make up that chord

08:23

are D F-sharp, A.

08:24

Well, where's D, F-sharp, A?

08:26

It's here, isn't it?

08:27

So that's a chord VI.

08:29

It's got no added notes.

08:31

It's got no sevenths in it or anything.

08:33

It's just a straightforward chord VI.

08:37

And we go onto the next one.

08:39

What have we got here?

08:40

Well, we seem to have two B's, a D, an F-sharp.

08:45

So what's going on there?

08:46

B, D, F-sharp.

08:48

Well, it looks as if it's chord IV, isn't it?

08:51

So let's call that chord IV.

08:54

One thing to notice about this chord is this.

08:58

So far, we've had the bottom of the triad

09:01

in the bass, haven't we?

09:02

When we had chord I, F-sharp's in the bottom of the triad,

09:04

F-sharp's in the bass.

09:05

When we had chord V, C-sharp's at the bottom,

09:09

C-sharp's in the bass.

09:10

Now this time, we've got the notes of chord IV,

09:12

B, D, F-sharp.

09:13

So always think about the notes first.

09:17

So, you know that we have the notes of chord IV,

09:20

but then only have to say,

09:21

but interestingly B is not in the bass, is it?

09:24

The note in the bass is D,

09:26

It's the third of the chord.

09:28

So we could have B in the bass.

09:29

We could have D in the bass.

09:30

We could have F-sharp in the bass.

09:33

If B is on the bass, that we say it's chord IV

09:36

in root position.

09:37

If D's in the bass,

09:39

we say it's chord IV in first inversion.

09:42

If F-sharp's in the bass,

09:43

we say it's chord IV in second inversion.

09:46

If B's in the bass, root position is chord "a",

09:50

so it's a IVa,

09:51

but because lots of chords are in root position,

09:53

if you just say IV, we assume you mean IVa.

09:58

If D is in the bass,

10:01

then it's in first inversion,

10:03

and we need to call it IVb.

10:05

If F-sharp's in the bass, it's in second inversion,

10:08

we need to call it IVc.

10:10

So this is chord IVb

10:13

because it's got the notes of chord IV, B, D, F-sharp,

10:17

and because the D the third is in the bass.

10:19

That's a IVb chord.

10:21

What about the next one?

10:22

Number six?

10:24

Notes we've got here, F-sharp, A, two C-sharps.

10:30

Three different notes,

10:31

it's probably a basic triad.

10:33

So which triad has got those three notes in it?

10:35

Oh, it looks like chord I again, doesn't it?

10:37

F-sharp, A, C-sharp.

10:39

So those notes all belong to chord I.

10:43

But before we move on, notice what's in the bass.

10:46

C-sharp is in the bass.

10:47

That's the fifth of chord I, isn't it?

10:50

So that's a second inversion chord, a, b, c.

10:55

So we call that chord Ic.

10:58

It's got the notes, of chord I.

10:59

F-sharp, A, C-sharp, but the fifth,

11:02

the C-sharp is in the bass, so it's Ic.

11:05

Okay.

11:06

What do we think about this one then?

11:08

The one I've numbered seven?

11:11

Now we've got four different notes there, haven't we?

11:13

You can see that straight away.

11:14

So, that might be indicating one of these extended chords.

11:17

Who knows? Let's have a look.

11:19

What are the notes?

11:20

We've got B, we've got D we've got F-sharp,

11:23

we've got G-sharp.

11:24

Oh my goodness.

11:25

So what's going on here?

11:26

It sort of looks like it might be something to do

11:29

with chord IV, you know, B, D, F-sharp.

11:31

Oh yeah, that's nice.

11:33

But the G-sharp is a bit odd, isn't it?

11:34

Because it's not adding a seventh, a ninth,

11:37

eleventh or thirteenth.

11:38

So it's sort of adding a six above the bass.

11:41

So, some people might describe that as a

11:44

B minor six chord or IV6 or something,

11:47

but actually let's look at this another way.

11:50

If we look at chord II, G-sharp, B, D, okay.

11:55

G-sharp, B, D.

11:58

If I extend chord II, then I have that as the seventh.

12:04

Now then, G-sharp a the bottom of that chord,

12:09

B and D and F-sharp is the seventh, so actually,

12:13

rather than thinking of it as something to do

12:15

with chord IV, it's really much more likely

12:18

to be something to do with chord II, so this is chord II,

12:24

and it has a seventh on it.

12:26

So it's a II7 chord.

12:30

And it doesn't have G-sharp in the bass,

12:33

it has B in the bass, doesn't it?

12:35

So the third is in the bass.

12:36

So it's a II7b chord.

12:41

Hopefully that makes sense.

12:42

So it's chord II, G-sharp, B, D.

12:46

It's got the seventh in it,

12:47

the F-sharp that's in the alto part,

12:49

but the third of the chord is in the bass, that B.

12:53

So, it's in first inversion.

12:55

So it's II7b.

12:58

Okay.

12:59

Now we're going into more tricky turf.

13:01

And if people want to call it a draw so far,

13:05

that's absolutely fine.

13:06

I'm just throwing in three chords now

13:08

for the people who can go a little bit further

13:11

with chords and think about something

13:13

called chromatic chords.

13:16

So chromatic chords are chords that use notes

13:19

that are not in the key, which may seem a funny thing to do,

13:23

but they add colour.

13:24

So they kind of function as part of the key,

13:27

but they're just odd chords that are thrown in

13:29

to give you a little bit of a surprise factor.

13:31

"Oh, I wasn't expecting to hear that note there."

13:34

And so that's a chromatic chord,

13:36

but it will use notes that you may not be quite expecting

13:39

to come across. So have a look at this one.

13:41

This is a very funny chord, isn't it?

13:42

We've got two G's, a B, and a D.

13:46

Now what's the nearest thing to G, B, D.

13:49

Well, the nearest thing is chord II, isn't it?

13:52

But in chord II, we should have a G-sharp.

13:56

Now I'll tell you what this chord is

13:58

and then if you've identified it,

14:00

you can see if you're right or not.

14:01

And if you've never met it before,

14:03

don't lose any sleep over it.

14:04

But when you take chord two and you lower that second degree

14:10

of the scale by a semitone,

14:11

so that G-sharp becomes G-natural,

14:13

and you build a major chord on the

14:16

lowered second degree of the scale.

14:18

Does that make sense?

14:19

So, the second degree of the scale is G-sharp,

14:21

lower it to G-natural, build a major chord G, B, D.

14:25

That's what we've got here.

14:26

So this is what we call a Neapolitan chord,

14:31

nothing to do with Neapolitan ice cream,

14:34

but Nea-poli-tan.

14:37

Okay, and it's a major chord built on the

14:41

flattened second degree of the scale,

14:44

normally in first inversion,

14:46

which you can see is happening here as well,

14:47

because we've got B in the bass.

14:50

So that's that one.

14:51

What's the next one?

14:52

Well, we've got four different notes,

14:54

so it could be something to do with these

14:56

extended things again, but we've got E-sharp, G-sharp, B,

15:01

and we've got D.

15:02

Now then, what's going on in chord VII?

15:04

We've got E-sharp, G-sharp, B.

15:08

If we extend that up there to D,

15:11

we've accounted for it, haven't we?

15:13

So in other words, that looks like a sort of a

15:16

VII7, doesn't it?

15:18

However, if you've got minor thirds

15:21

between each of these intervals

15:23

or the equivalent of minor thirds, so E-sharp to G-sharp,

15:27

minor third, G-sharp to B, minor third, B to D, minor third.

15:31

And it's built on the seventh degree of the scale

15:34

as this one is, then this is a diminished seventh chord.

15:40

Okay, diminished seventh chord.

15:42

You can meet a diminished seventh chord anywhere,

15:45

just by putting minor thirds on top of each other.

15:48

But if you're diminished seventh is built on chord VII,

15:51

then that is the diminished seventh

15:53

in the key of F-sharp minor.

15:57

And what about this one?

15:58

Well, this is going to cause a lot of angst I'm sure

16:00

because that B-sharp leaves you thinking

16:03

what on earth is going on here?

16:05

Well, there's a group of chords

16:06

called the augmented sixth chords,

16:10

and that's what we're dealing with.

16:11

So very quickly, when you make an augmented sixth chord,

16:14

you build it on the sixth degree of the scale,

16:16

which is D in this case,

16:18

that's the sixth degree of F-sharp minor.

16:21

You put an augmented sixth above that, which is B-sharp.

16:25

You put the tonic in the middle, that's the F-sharp.

16:29

And that's the basic augmented sixth chord.

16:32

If it just has those three notes, it's called Italian.

16:35

If you then add an augmented fourth above the bass note,

16:39

which is what this G-sharp is, it becomes a French sixth.

16:43

And instead of that,

16:44

if you had a perfect fifth above the bass,

16:46

it would be called a German sixth.

16:48

So this is a French sixth in the key of F-sharp minor.

16:55

Now, if French sixths are a step too far at the moment,

16:58

that's absolutely fine.

17:00

If you want to just get into these augmented sixth chords,

17:03

a little bit more, the Italian, the French and the German

17:06

have a look elsewhere on the YouTube channel,

17:09

because I've already made a video that explains those

17:12

in a bit more detail, but there we are.

17:14

Those were the ten chords.

17:16

How did you get on?

17:17

If you scored ten out of ten, well done,

17:19

you're a musical genius.

17:21

And if you manage to get seven out of ten,

17:23

you're doing really well.

17:24

Maybe it's just the chromatic chords

17:26

that caught you out there.

17:28

And if you didn't know about extended chords

17:30

and about inversions, but you did know about the rest, well,

17:33

that should hopefully have pushed things forward

17:35

a bit for you.

17:36

So there we are.

17:37

Name that chord.

Rate This

5.0 / 5 (0 votes)

Thanks for rating: