![]() The highest priority relationship among these is that between the Dominant (V) chord and the Tonic (I) chord, which is exemplified in the musical feeling of ‘arrival’ we find in cadences. Finally, for any of this to make sense, we must understand that the aforementioned components of keys are all bound together in a relationship of functionality, which means that all of the components of a key (scale, chords, etc.) are connected.We can use a system of Roman numerals to simultaneously name and analyze the different chords of the key based on their relationship to the tonic triad. ![]() From our core major or minor scale, we can build a corresponding scale made up of chords (called a chord scale) that we can use as a template for all of the possible basic harmonies we might encounter in the key.We use key signatures at the beginning of pieces to indicate which scale we are using (i.e., which key we are in), and to serve as an abbreviation for accidentals so that we do not need them to be used repetitively throughout the entire piece.Everything that occurs within a key will be based on of the notes of that scale. At the core of all keys is a basic major or minor scale.By reinforcing our knowledge of scales and chords and then distilling that knowledge for the purpose of understanding keys, we were able to able to reveal the infrastructure behind keys as a product of the common musical devices we know and use everyday. In Part I of this article series, we illustrated how some of the most basic tools in our musical tool-box could be employed to achieve a functional, foundational understanding of the the concept of ‘keys’ in music. ![]() Applying Scales and Chords to the Study of Keys
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