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Chapter Thirteen - Triads
Introduction
Triads are made up of three different notes. The basic triads used in the music of the Western culture are created by the use of three notes from the basic scales studied previously. Notice that the triads are created by stacking the interval of third (E to G) upon another third (C to E). The lowest note is called the "Root", the middle note the "Third" and the top note the "Fifth".
When discussing triads it is useful to have a name for the entire harmonic structure. There are two elements to the naming of triads in music:
1) the root letter name
2) the chord suffix (quality).
The terms Major, Minor, Augmented and Diminished are used as a suffix to describe the quality of different triads similar to the way these terms are used as a prefix to describe the quality of intervals. (Notice that "perfect" is not used as a suffix for triads)
A suffix is used along with the letter name of the root to become the name of the triad. Examples: C major triad, or D minor triad. Frequently the term "chord" is used instead of "triad", i.e. C major chord, or D minor chord. ("Chord" is a more general term that includes the combination of 2 tones, 3 tones, 4 tones or more)
The triads shown in the example below are known as "root position/close voicing". The root position/close voicing triads contain two interlocking thirds. The notes of the triads are always either on the lines or on the spaces.
The first two triads studied in this chapter are the Major triad and the Minor triad. These triads are most easily understood as being the structure that results when sounding the first, third, and fifth note of the Major or Minor scales respectively.
It is useful to memorize the interval structure of the different intervals that make up the major triad. Each major triad is comprised of three different intervals:
1) Ma3 (from the root to the 3rd)
2) mi3 (from the 3rd to the 5th)
3) P5 (from the Root to the 5th).
In a Major triad the interval of the lower third is a Major 3rd and the interval of the upper third is a Minor 3rd. Also of importance is that the interval from the Root to the Fifth is a Perfect 5th. The example shows a C major triad.
The Major triad is created by the combination of the first, third and fifth notes of any Major scale. In fact, there are two other major triads inherent in the major scale, one whose root is the fourth note of the scale and one whose root is the fifth note of the scale:
1) the fourth note (root), sixth note (third), and first note (fifth) - (F major triad)
2) the fifth note (root) , seventh note (third) and second note (fifth) (G major triad)
As you will see later, major triads are also used in minor keys.
In a Minor triad the interval of the lower third is a Minor 3rd and the interval of the upper third is a Major 3rd. Also of importance is that the interval from the Root to the Fifth is a Perfect 5th.
The Minor triad is created by the combination of the first, third and fifth notes of any Minor scale. In fact, there are two other minor triads inherent in the natural minor scale, one whose root is the fourth note of the scale and one whose root is the fifth note of the scale:
1) the fourth note (root), sixth note (third), and first note (fifth) (F minor)
2) the fifth note (root) , seventh note (third) and second note (fifth) (G minor)
Natural minor
When using the Harmonic minor form, the triad whose root is the fifth note of the scale becomes a Major triad because the seventh note of the scale (which is the third of the triad) is raised one half step.
Harmonic minor
As you will see later, Minor triads are used in major keys also.
Root position
Close Voicing/Open Voicing
The triad can be changed to a different "voicing" without changing its "quality" or "position". By placing the third of the triad one octave higher, the triad will be in "open voicing". The basic open voicing is created by interlocking the lower interval of a fifth with the upper interval of a sixth.
Major
Minor
In an Augmented triad the interval of the lower third is a Major 3rd and the interval of the upper third is also a Major 3rd. Also of importance is that the interval of the Root to the Fifth is an Augmented 5th.
The augmented triad is found in the harmonic minor and melodic minor scales as the triad rooted on the third note of those scales.
Although the augmented triad does not exist as a diatonic triad in the major scale (diatonic triads are discussed later in this chapter) it is often used in a major key. The most frequent use of the augmented triad in a Major key is when the triad is rooted on the fifth note of the scale (Oh, Darlin' - Beatles, It's only love, Beatles) or the triad is rooted on the first note of the scale (Baby hold on to Me - Eddie Money, For Once in my life-Stevie Wonder). These augmented triads will always require a note that is outside the basic major scale structure but that is why they provide an interesting sound in major keys, they add a certain tension that is usually resolved by the following chord of the song.
The Augmented triad rooted on the fifth note of a Minor key is also frequently used. It should be noted that the D# in the Augmented triad is enharmonic to Eb; a note that is diatonic to the key of C minor. Because of this fact the D# is often written as a Eb.
Root position
Close Voicing/Open Voicing
Augmented
In a Diminished triad the interval of the lower third is a Minor 3rd and the interval of the upper third is also a Minor 3rd. Also of importance is that the interval of the Root to the Fifth is a Diminished 5th.
Two diminished triads occur in the harmonic minor scale:
1) the triad rooted on the the second note
2) the triad rooted on the seventh note.
One diminished triad occurs in the major scale. It is rooted on the seventh note of the scale.
Root position/Open Voicing
Diminished
Each scale has its own pattern of intervals and triads. The following examples show what is termed the "diatonic triads" in the scales discussed so far.
Major scale
In the Major scale system there are three Major triads, three Minor triads and one Diminished triad. It is useful to memorize the order of the quality of triads that occur in a scale. In Major scale the order is:
I-major, II-minor, III-minor, IV-Major, V-major, VI-minor, VII-diminished.
I ii iii IV V vi vii I
Natural minor
In Natural minor there are three Minor triads, three Major triads and one Diminished triad. In natural minor the order of triads is:
I-minor, II-diminished, III-major, IV-minor, V-minor, VI-major, VII-major.
i ii III iv v VI VII i
Harmonic minor
In the Harmonic minor scale there are two Minor triads, two Major triads, two Diminished triads and one Augmented triad. In harmonic minor the order of triads is:
I-minor, II-diminished, III-augmented, IV-minor, V-major, VI-major, VII-diminished.
i ii III iv V VI vii i
Melodic minor
As in Harmonic minor, Melodic minor has two Minor triads, two Major triads, two Diminished triads and one Augmented, yet the triads occur in a different order than they do in Harmonic minor. In melodic minor the order of triads is:
I-minor, II-minor, III-augmented, IV-major, V-major, VI-diminished, VII-diminished.
i ii III IV V vi vii i
The tones of the triads can be mixed up in different order to create what is known as inversions. When changing from close voicing to open voicing, the top two notes of the triad were inverted, however the root of the triad always remained as the lowest tone. When the Root is the lowest tone the triad is referred to as Root position. All of the close and open voicing triads presented so far in this chapter have been in root position.
When a tone other than the root is the lowest tone, the triad is referred to as either 1st inversion (3rd of the chord is the lowest note) or 2nd inversion (5th of the chord is the lowest tone).
1st inversion
First inversion triads that are in close position have a specific look on the manuscript. The interval of a 3rd is interlocked with the interval of a 4th. It is useful to memorize the quality of the intervals that make up the first inversion triads.
Major
The major triad, when in 1st inversion, has a mi3 interval (the 3rd to the 5th) interlocking with a P4 interval (the 5th up to the root). The outside interval is a mi6 (3rd up to the root).
Major triad in 1st inversion
Minor
The minor triad, when in 1st inversion, has a Ma3 interval (the 3rd to the 5th) interlocking with a P4 interval (the 5th up to the root). The outside interval is a Ma6 (3rd up to the root).
Minor triad in 1st inversion
Augmented
The augmented triad, when in 1st inversion, has a Ma3 interval (the 3rd to the 5th) interlocking with a d4 interval (the 5th up to the root). The outside interval is a mi6 (3rd up to the root).
Augmented triad in 1st inversion
Diminished
The diminished triad, when in 1st inversion, has a mi3 interval (the 3rd to the 5th) interlocking with a A4 interval (the 5th up to the root). The outside interval is a Ma6 (3rd up to the root).
Diminished triad in 1st inversion
2nd inversion
Second inversion triads that are in close position have a specific look on the manuscript. The interval of a 4th is interlocked with the interval of a 3rd. It is useful to memorize the quality of the intervals that make up the second inversion triads.
Major
The major triad, when in 2nd inversion, has a P4 interval (the 5th up to the root) interlocking with a Ma3 interval (root to the 3rd). The outside interval is a Ma6 (5th up to the 3rd).
Major triad in 2nd inversion
Minor
The minor triad, when in 2nd inversion, has a P4 interval (the 5th up to the root) interlocking with a mi3 interval (root to the 3rd). The outside interval is a mi6 (5th up to the 3rd).
Minor triad in 2nd inversion
Augmented
The augmented triad, when in 2nd inversion, has a d4 interval (the 5th up to the root) interlocking with a Ma3 interval (root to the 3rd). The outside interval is a mi6 (5th up to the 3rd).
Augmented triad in 2nd inversion
Diminished
The diminished triad, when in 2nd inversion, has a A4 interval (the 5th up to the root) interlocking with a mi3 interval (root to the 3rd). The outside interval is a Ma6 (5th up to the 3rd).
Diminished triad in 2nd inversion
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