It often pulls into the dominant which then pulls into the tonic in that fashion.
So we would get this idea of here's a chord here.
[SOUND] There's the tonic, here's the dominant, [SOUND].
There's the subdominant, [SOUND], and there's the tonic.
We can flip this just a little bit.
We could say alright here's our tonic up here.
[MUSIC]
And go that way, tonic, subdominant, dominant, tonic,
[MUSIC]
That way.
So we could come up from the tonic, or go down from the tonic.
Generally speaking, composers are more likely to go down from the tonic
than come back up to the tonic than they are likely to go the other way.
So we've got these three basic chords we're gonna talk about.
There are others there that we've built on the second and
seventh degree of the scale, but these are the most important.
And it's surprising how much music these three basic chords can accommodate and
with all the things.
[MUSIC]
Dominant, tonic, dominant, tonic, finally,
[MUSIC]
Subdominant tonic,
[MUSIC],
dominant, tonic. [MUSIC]
So a lot of music is made in that fashion.
So as the class video said we get a lot of musical mileage out of just these
three chords.
[MUSIC]
So think about this the next time you listen to music whether classical or pop.
I think you can hear the very least of difference between the dominant and
the tonic chords.
[MUSIC]
Tonic, dominant, tonic, dominant, tonic.
[MUSIC]