But, [SOUND] actually it's just happening for a very short period of time.
We come back to five and it makes sense to relate five but original tonic.
If this was happening for a longer period of time and
it was a bit of a feature in the music.
Be perfectly acceptable to say okay, this is five [SOUND] in F,
and what that's doing is stating that the music has, changed key.
And then obviously this, [SOUND] is our new one.
F is our new one.
If we were going to be describing this as a significant and long term key change.
When you're doing this in your analysis and when you're doing this in, your exams.
Or even when you're just doing this out in, out in the real world and
you try to understand what's happening with this piece of music,
you've got to make a decision as to,
whether these have changed key over a lot period time as per this notation or
if it was just a very short period of time you may want to use this notation.
[SOUND] Whereby we say this is one and C yes,
okay this is step out of the key of C but it doesn't make a great deal of sense to.
Don't rock the boat too much in our analysis.
So we're just going to say that this is actually called five of the fourth chord,
chord four, and then, that this is just returning to chord four.
Completely up to you, do what you feel is more suitable in,
the, any given context, but both ways are open to you.
And hopefully you're understanding that actually this is,
not the dominant chord that we would expect to see, and,
as a result, what that does, is it moves all the ears to a different place.
And actually, [SOUND] because it's a dominant chord it is 5 of something it
down sizes it's own one, [SOUND] okay so let's look at this next example I've
got for you so again here we've got again the key signature of C major.
So, that's no sharps or flats, and we've got a C major chord.
So, we can see that this is one in the key of C.
That shouldn't be too upsetting or too much of a, a shock to anybody.
[SOUND] Let's look at this next chord.
I've labelled that as (ii), lower case (ii) because it's a D, an F, and an A.
And then we've got other Ds in there, but D-F-A is it's individual notes.
That's a minor triad, built on the second degree, so that's chord (ii),
that's D minor.
So it's chord (ii) in the key of C.
Now what I've done to this chord here is I've changed it,
so that we've got a major third, and a minor seventh.
So again this is a dominant seventh.
So what we've got here just to show you on screen is a D7.
Now what we're saying there is D7, well D is the second degree of the scale, so
dominant chord built on the second degree.
We know that we don't get dominant chords built on the second degree if we're
in the same key, so, this signals that we have had a key change.
There's some sort of modulation, something's happened.
So, this D7, as we've said, dominant, is a dominant chord.
And dominant chords want to resolve to the one.
So if dominate chords are five, it wants to resolve to its own one.
Well, what is D7 the five of?
D7 is the 5, chord 5 of G.
Okay?
Okay what we've got here is one, two, three dominant.
Okay, so we've got a D7,
a seventh chord built on the second degree, resolve into G.
And I'll just put that in so you can see, what's going on.
Okay?
But, how do we go about analyzing this?
Well, yeah, this is one, this is two.
