J. Anthony Allen covers minor keys, the circle of fifths for songwriting, and compound meters. He uses Coldplay's "The Scientist" to show how pop songs use minor key characteristics, and explains how a G major progression becomes A minor.
Foreign. Hey, everyone. Welcome to Comprehensive Music Theory, Part three, Minor keys, circle of fifths, compound meters. In this class, we're going to be adding minor keys into what we already know from our other classes. So if you've taken these other classes, this will be just a natural flow. If you've taken part one and part two, you're going to be in great shape. If you haven't taken part one and part two, and you think you're going to be good looking over the content, then by all means, go for it. In the first segment here, I'm going to do a quick little review and talk about a couple things that we picked up in the earlier classes that are going to be exceptionally important as we transition into minor keys that you're going to need to know. We're going to do a couple analyses in this class, including this piece we're looking at right now, the Scientist by Coldplay. Great example of a pop song that takes advantage of minor keys and a couple of interesting things that happen in minor keys. So we'll see that as we get into all of this stuff. We're also going to be talking about circle of fifths, particularly for songwriting, and how that can be a tool for writing music and creating music. And then compound meters, we got to address how to read and work with more complicated rhythmic elements. So we're gonna do a short chunk on that, and then that'll be it. So I hope you decide to join into this class. It's gonna be a ton of fun. I just finished making the class, and now I'm jumping backwards to make this intro video. So I know everything that's covered in it. We had a great time, so please join us, and I will see you on the inside. Okay, let's say we're writing a song. Let's write a song in of G major. Okay, so we're working on our song. It's in the key of G major. I know all the chords I can use. Right. An E minor chord also inverted. That's a six. So dominant wants to go up to tonic. Dominant up here wants to fall down to tonic dominant major scale. The minor scale has a couple different variations. The major scale is just. But what if we took the same ex. And let's just start on the A minor, the relative minor of C major. What do we get then? Most cases, it's going to be the first or last chord, or probably they're the same. But let's just listen, and let's think about that while we listen. Sam,
