 Hi, we're now ready to take a look at the diatonic nature of triads based on a minor scale. We've already done diatonic triads in a major scale and have really defined the function of each triad based on every step of the major scale. Doing this same thing for minor scales is very similar, but there are a few extra little rules to remember, so minor scales are just a little bit more involved. So let's take a look at the theory and begin to understand the concept. If we take a look at our staff, let's go ahead and write out a minor scale based on the key of a natural minor. Now I choose the A minor scale because it has a key signature of no sharps and no flats. It's kind of easy to remember. So we're going to start with the note A, then the note B, C, D, E, F, G, and A. And we develop this scale just based on all of the old rules of generating a minor scale. So here we are with an A minor scale. Now we will now create a triad over each step of the scale using notes that come from that scale. So the triad based on the first step of the scale is A, C, and E. The triad based on the second step of the scale is B, D, F, third step, C, E, G, and so on. As you're watching this, you might want to pause the video right now and go ahead and recreate those triads over the A minor scale and take a minute to try to figure out what their quality is. Are these triads major? Are they minor, diminished, or augmented? So I'm hoping that at this point you've taken a minute to do that, and now we're going to talk about it. I'll switch frames here and we'll take a look at that very same set of triads. Now we'll start with the first step here. The A minor triad is in fact a minor, so it's A minor. The triad based on the second step is a B diminished triad. The one based on the third step hopefully was quite easy to figure out because it's the C major triad would have been very similar to what we started with in the last video, in the last lesson. The fourth step is a minor triad. Now the fifth step is an interesting one because if we just left the fifth step as is, it would be a minor triad. However, in a minor key we are always going to raise the third of that triad to create a major triad. It gives more of a pull back to the tonic when we do that. So that is one of the first changes that we're going to note is that the fifth step we're going to raise the third to create a major triad as opposed to a minor. We go on to the sixth step and it naturally gives us a major triad. We go to the seventh step and it would be, if we left it alone, it would also be a major triad but you'll notice already that I have sharped the root of the triad based on the seventh step and that's very important because it creates a diminished triad at the seventh step and in order to do that we had to raise the root by a half step. What this really does is allows the V chord and the VII chord to have real pull for us back to the tonic. You'll notice that the note that's been altered in both of these cases is the seventh step of the scale. If it's an A minor scale, A, B, C, D, E, F, G sharp is the seventh step of the scale and here's the G sharp. That's what we call a leading tone. The G sharp is the leading tone in an A minor scale. That's very important and that will be the case with all of our minor scales and harmonies that we write and of course the last one there is A minor again or a minor one. This will be the case for all of your minor diatonic triads. I've gone ahead and created another scale, another minor scale and the diatonic triads. I used the same key signature that we used in the last lesson. Two sharps would be either D major or B minor. In this case we're dealing with a B minor scale. The one chord is a minor. The two chord is diminished and in case you're glancing at that and just looking at that remember that that is C sharp because of the C key signature, C sharp, E and a G which gives us a diminished triad. The third step is major D, F sharp and A again based on the key signature. The fourth step is minor. The fifth step would have been minor but we went ahead and altered the third. We raised the third to create a major triad, F sharp, A sharp and C sharp. The sixth step comes out major right off the bat. The seventh step looks like I have an error in my PowerPoint presentation. This would not be a sharp in the middle, it should be a sharp down here on the bottom. The C was already sharp based on the key signature. This should be A sharp, C, E which gives us a diminished seven chord and then the one chord is minor. These principles hold true for the minor key any time we're creating diatonic triads in a minor key. One is minor, the two is diminished. C is major, four is minor, five is major, six is major and the seven is diminished and the five chord and the seven chord have an altered tone in each of them. One thing that I'd like you to know also is that each of these steps of the scale have a name or a role. We call the first step of the scale the tonic. We call the second step of the scale the super tonic. Third step is known as the mediant. The fourth step is the subdominant. The fifth step is known as the dominant. The sixth step is known as the sub mediant. The seventh step is known as the leading tone and that is the role or the name of the role of each step of the scale. That leading tone in the seventh is really, really important. Typically tonic is what we think of as the sort of home base. Dominant, the five chord, is what we think of as leading back to the home base and of course the three primary chords like the majors are the one, the four and the five still in a minor key considered to be the primary chords. So that's important to remember as well. Okay, go ahead and go to the assignment and let's see how you can make out with that.