Introduction To Triads - Music Theory For The 21st-Century Classroom

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  • Front Matter
    • Colophon
    • Acknowledgements
    • Preface
  • 1 Basic Concepts
    • 1.1 Pitch
    • 1.2 Notation
    • 1.3 Octave Registers
    • 1.4 Accidentals
    • 1.5 Enharmonic Notes
    • 1.6 Practice Exercises
  • 2 Major Scales and Key Signatures
    • 2.1 Half Steps and Whole Steps
    • 2.2 The Major Scale
    • 2.3 Major Key Signatures
      • 2.3.1 Identifying Key Signatures
    • 2.4 Practice Exercises
  • 3 Minor Scales and Key Signatures
    • 3.1 Minor Scales
    • 3.2 Minor Key Signatures
    • 3.3 Scale Degree Names
    • 3.4 Practice Exercises
  • 4 Basics of Rhythm
    • 4.1 Time Signature
    • 4.2 Durational Symbols
    • 4.3 Dots and Ties
    • 4.4 Meter
    • 4.5 Tuplets
    • 4.6 Common Rhythmic Notation Errors
    • 4.7 Practice Exercises
  • 5 Intervals
    • 5.1 Introduction to Intervals
      • 5.1.1 Numeric Size of Interval
      • 5.1.2 Interval Quality: Perfect versus Major/Minor
    • 5.2 How to Identify Perfect, Major, and Minor Intervals
    • 5.3 How to Write Perfect, Major, and Minor Intervals
    • 5.4 Inversion of Intervals Explained
    • 5.5 Augmented and Diminished Intervals
    • 5.6 Practice Exercises
  • 6 Triads
    • 6.1 Introduction to Triads
    • 6.2 Lead-Sheet Symbols
    • 6.3 Inverted Triads
      • 6.3.1 "Slash" Chords
    • 6.4 Analyzing Chords
    • 6.5 Simple “Sus” Chords
    • 6.6 Summary
    • 6.7 Practice Exercises
  • 7 Roman Numerals and Cadences
    • 7.1 Roman Numeral Chord Symbols
    • 7.2 Diatonic Chords in Major
    • 7.3 Diatonic Chords in Minor
    • 7.4 Cadences
      • 7.4.1 Examples of Authentic Cadences
      • 7.4.2 Examples of Plagal Cadences
      • 7.4.3 Examples of Deceptive Cadences
      • 7.4.4 Examples of Half Cadences
    • 7.5 Practice Exercises
  • 8 Seventh Chords
    • 8.1 Introduction to Seventh Chords
    • 8.2 The IV/5 “sus” chord
    • 8.3 Roman Numerals of Diatonic Seventh Chords
    • 8.4 Practice Exercises
  • 9 Harmonic Progression and Harmonic Function
    • 9.1 The Circle of Fifths Progression
    • 9.2 Harmonic Rhythm
    • 9.3 Shorter Progressions from the Circle of Fifths
      • 9.3.1 II-V-I
      • 9.3.2 VI-II-V-I
        • 9.3.2.1 vi-ii-V-I
        • 9.3.2.2 I-vi-ii-V
        • 9.3.2.3 ii-V-I-vi
      • 9.3.3 III-VI-II-V
    • 9.4 Harmonic Function
      • 9.4.1 The Harmonic Flowchart
      • 9.4.2 Tonic-Dominant-Tonic Progression
      • 9.4.3 Tonic-PreDominant-Dominant-Tonic Progression
      • 9.4.4 The Tonic-Tonic Prolongation-PreDominant-Dominant Progression
        • 9.4.4.1 I–vi–IV–V
    • 9.5 Exceptions Created by Harmonic Sequences
    • 9.6 The Subtonic VII Chord in Popular Music
    • 9.7 The Best-Seller Progression
    • 9.8 The i–VII–VI–VII Progression
    • 9.9 Practice Exercises
  • 10 Non-Chord Tones
    • 10.1 Introduction to Non-Chord Tones
    • 10.2 Passing Tones
    • 10.3 Neighbor Tones
    • 10.4 Appoggiatura
    • 10.5 Escape Tone
    • 10.6 Double Neighbor
    • 10.7 Anticipation
    • 10.8 Pedal Point
    • 10.9 Suspension
    • 10.10 Retardation
    • 10.11 Incomplete Neighbor
    • 10.12 Practice Exercises
  • 11 Melodic Analysis
    • 11.1 Motive
    • 11.2 Melodic Alteration
      • 11.2.1 Inversion
      • 11.2.2 Intervallic Change
      • 11.2.3 Augmentation and Diminution
      • 11.2.4 Rhythmic Change
      • 11.2.5 Ornamentation
      • 11.2.6 Extension
      • 11.2.7 Retrograde
    • 11.3 Fragment
    • 11.4 Phrase
    • 11.5 Subphrase
    • 11.6 Practice Exercises
  • 12 Form in Popular Music
    • 12.1 Verse-Chorus Form
    • 12.2 AABA Form
    • 12.3 ABAC Form
    • 12.4 The 12-Bar Blues
    • 12.5 Harmonically Closed and Open Sections
    • 12.6 Practice Exercises
  • 13 Phrases in Combination
    • 13.1 The Perfect Authentic Cadence
    • 13.2 The Sentence
    • 13.3 The Period
      • 13.3.1 Conclusiveness of Cadence
      • 13.3.2 Examples of the “Less Conclusive-More Conclusive” Cadential Formula
      • 13.3.3 Antecedents and Consequents
      • 13.3.4 Parallel and Contrasting Periods
      • 13.3.5 Repeated Phrase
    • 13.4 The Asymmetrical Period
    • 13.5 The Double Period
      • 13.5.1 Repeated Period
    • 13.6 Phrase Groups and Phrase Chains
    • 13.7 The Elision
    • 13.8 Summary of Phrases in Combination
    • 13.9 Practice Exercises
  • 14 Accompanimental Textures
    • 14.1 Texture
    • 14.2 Chorale Texture
    • 14.3 Arpeggiated Accompaniments
      • 14.3.1 Arpeggios
      • 14.3.2 Alberti Bass
    • 14.4 Block Chord Accompaniments
      • 14.4.1 The “1 (2) &” Rhythm
      • 14.4.2 The “Barbara Ann” Rhythm
      • 14.4.3 Repeated 8th-note Chords
      • 14.4.4 Repeated Quarter-note Chords
    • 14.5 Afterbeats and Offbeats
      • 14.5.1 Afterbeats
      • 14.5.2 Offbeats
        • 14.5.2.1 Polka
        • 14.5.2.2 Reggae
    • 14.6 The 3–2 Son Clave
      • 14.6.1 The 3+3+2 Rhythm
        • 14.6.1.1 Habanera and Reggaeton
      • 14.6.2 3+3+3+3+2+2
      • 14.6.3 8 Groups of 3 Plus 4 Groups of 2
      • 14.6.1 Other Combinations of 3s and 2s
    • 14.7 Distinctive Bass Lines
      • 14.7.1 Distinctive Guitar Riffs
  • 15 Creating Contrast Between Sections
    • 15.1 The Elements of Music
    • 15.2 Mozart, Eine kleine Nachtmusik, K. 525, II.
    • 15.3 “Rude” by MAGIC!
  • 16 Figured Bass
    • 16.1 Historical Context
    • 16.2 Figured Bass Inversion Symbols
    • 16.3 The Cadential Six-Four Chord
    • 16.4 Other Occurrences of Six-Four Chords
    • 16.5 Additional Information
    • 16.6 Practice Exercises
  • 17 Secondary Dominant Chords
    • 17.1 Examples with Secondary Dominants
    • 17.2 Tonicization
    • 17.3 Secondary Dominants in Major and Minor
    • 17.4 Analyzing Secondary Dominants
    • 17.5 Writing Secondary Dominants
    • 17.6 Irregular Resolutions of Secondary Chords
    • 17.7 Practice Exercises
  • 18 Secondary Diminished Chords
    • 18.1 Secondary Diminished Chords
    • 18.2 Secondary Diminished Chords in Major and Minor
    • 18.3 Analyzing Secondary Diminished Chords
    • 18.4 Writing Secondary Diminished Chords
    • 18.5 Practice Exercises
  • 19 Mode Mixture
    • 19.1 Mode Mixture
    • 19.2 Harmonization of Borrowed Scale Degrees
    • 19.3 Analyzing and Writing Borrowed Chords
    • 19.4 The Deceptive Cadence with ♭\(\left.\text{VI}\right.\)
    • 19.5 The Picardy 3rd
    • 19.6 Practice Exercises
  • 20 The Neapolitan Chord
    • 20.1 The Neapolitan Chord
    • 20.2 Examples of the Neapolitan Chord
    • 20.3 Practice Exercises
  • 21 Augmented Sixth Chords
    • 21.1 Augmented Sixth Chords
    • 21.2 Types of Augmented Sixth Chords
    • 21.3 Analyzing Augmented Sixth Chords
    • 21.4 Lead-Sheet Analysis of Augmented Sixth Chords
    • 21.5 Examples with Augmented Sixth Chords
      • 21.5.1 The Italian Augmented Sixth Chord
      • 21.5.2 The French Augmented Sixth Chord
      • 21.5.3 The German Augmented Sixth Chord
      • 21.5.4 The Enharmonic German Sixth
    • 21.6 Distingushing Between Chromatic Harmonies
    • 21.7 Descending Chromatic Bass Lines
    • 21.8 Chromatic Pre-Dominant Chords
    • 21.9 Practice Exercises
  • 22 Modulation
    • 22.1 Modulation
    • 22.2 Tonicization versus Modulation
    • 22.3 Key Relationships
    • 22.4 Modulations with Diatonic Pivot Chords
      • 22.4.1 Determining Common Chords Between Keys
      • 22.4.2 Harmonic Functions of Diatonic Pivot Chords
    • 22.5 How to Recognize a Key After a Modulation
    • 22.6 Modulations with Chromatic Pivot Chords
      • 22.6.1 Secondary Common Chord
      • 22.6.2 Borrowed Common Chord
      • 22.6.3 Neapolitan Common Chord
      • 22.6.4 Augmented Sixth Common Chord
    • 22.7 Modulations Without Pivot Chords
      • 22.7.1 Direct Modulation
      • 22.7.2 Common-Tone Modulation
        • 22.7.2.1 Chromatic Mediants
      • 22.7.3 Sequential Modulation
    • 22.8 Practice Exercises
  • 23 Enharmonic Modulation
    • 23.1 Enharmonic Modulation
    • 23.2 The V7 and Ger+6 as Pivot Chords
    • 23.3 The Fully Diminished Seventh as Pivot Chord
    • 23.4 Practice Exercises
  • 24 Binary and Ternary Forms
    • 24.1 Binary and Ternary Form
    • 24.2 Sectional versus Continuous
    • 24.3 Balanced Binary
    • 24.4 Rounded Binary
    • 24.5 Simple Binary
    • 24.6 Binary Principle
    • 24.7 Ternary Form
      • 24.7.1 Compound Ternary
    • 24.8 Distinguishing between Rounded Binary and Ternary
      • 24.8.1 Written-Out Repeats
    • 24.9 Practice Exercises
  • 25 Sonata and Rondo Forms
    • 25.1 Sonata Form
      • 25.1.1 Diagram of Sonata Form
      • 25.1.2 Sonatina Form
      • 25.1.3 Sonata Principle
      • 25.1.4 The Monothematic Sonata
    • 25.2 The Four Structural Functions in Music
      • 25.2.1 Expository Function
      • 25.2.2 Transitional Function
      • 25.2.3 Developmental Function
      • 25.2.4 Terminative Function
    • 25.3 Rondo Form
      • 25.3.1 Sonata Rondo Form
    • 25.4 Rondo Character
    • 25.5 Standard Forms in a Multimovement Classical Piece
    • 25.6 Practice Exercises
  • 26 Voice Leading Triads
    • 26.1 Voice Leading
    • 26.2 Types of Motion
    • 26.3 Objectionable Parallels
    • 26.4 Voice Ranges
    • 26.5 Rules of Melody
    • 26.6 Rules of Spacing
    • 26.7 Voice Leading Root Position Triads in Four Parts
      • 26.7.1 Bass movement of the interval of a 3rd or 6th
      • 26.7.2 Bass movement of the interval of a 4th or 5th
      • 26.7.3 Bass movement of the interval of a 2nd
      • 26.7.4 Repetition of the bass note
    • 26.8 Voice Leading First-Inversion Triads
      • 26.8.1 Voicing a First Inversion Chord
    • 26.9 Voice Leading Second Inversion Triads
    • 26.10 Special Situations
    • 26.11 Types of Six-Four Chords
    • 26.12 Summary of Doubling Rules for Triads
    • 26.13 Practice Exercises
  • 27 Voice Leading Seventh Chords
    • 27.1 Voice Leading Seventh Chords
    • 27.2 Voice Leading Successive Seventh Chords
    • 27.3 Voice Leading the \(\left.\text{V}^{7}\right.\) to \(\left.\text{I}\right.\) Progression
      • 27.3.1 Voice Leading \(\left.\text{I}^{6}_{4}\right.\) to \(\left.\text{V}^{7}\right.\)
    • 27.4 The Special Resolution of vii\(\left.\text{}^{\circ}{}^{7}\right.\) (and vii\(\left.\text{}^ø{}^{7}\right.\))
    • 27.5 When to Use Seventh Chords
    • 27.6 Practice Exercises
  • 28 Voice Leading With Non-Chord Tones
    • 28.1 Voice Leading With Non-Chord Tones
    • 28.2 Avoiding Objectionable Parallels
    • 28.3 Adding Non-Chord Tones to a Chord Progression
    • 28.4 Practice Exercises
  • 29 Voice Leading Chromatic Harmonies
    • 29.1 Voice Leading Secondary Chords
    • 29.2 Voice Leading Borrowed Chords
    • 29.3 Voice Leading the Neapolitan Chord
    • 29.4 Voice Leading Augmented Sixth Chords
    • 29.5 Practice Exercises
  • 30 Introduction to Counterpoint
    • 30.1 Species Counterpoint
    • 30.2 First Species Counterpoint
    • 30.3 Second Species Counterpoint
    • 30.4 Third Species Counterpoint
    • 30.5 Fourth Species Counterpoint
    • 30.6 Fifth Species Counterpoint
    • 30.7 Invention Expositions
      • 30.7.1 How to Write an Invention Exposition
      • 30.7.2 Altering Themes to Fit the Harmonies
      • 30.7.3 Adding Counterpoint to the Theme Statements
    • 30.8 Fugue Analysis
    • 30.9 Practice Exercises
  • 31 Introduction to Jazz Theory
    • 31.1 Jazz Chord Basics
    • 31.2 Chord Symbol Specifics
    • 31.3 Altered Dominant Seventh Chords
    • 31.4 Chord Labels
    • 31.5 How to Write Jazz Chords
    • 31.6 How to Analyze Jazz Chords
    • 31.7 Jazz Chord Voicings
      • 31.7.1 Guide Tones
      • 31.7.2 Jazz Chord Voicings
    • 31.8 Standard Chord Progressions
      • 31.8.1 II–V–I
      • 31.8.2 III–VI–II–V
      • 31.8.3 The Blues Progression
    • 31.9 Scales
      • 31.9.1 The Blues Scale
      • 31.9.2 The Bebop Scale
      • 31.9.3 Table of Scales
    • 31.10 How to Determine Chord-Scale Relationships
      • 31.10.1 List of Chord-Scale Relationships
    • 31.11 Harmonizing the Bebop Scale
    • 31.12 Practice Exercises
  • 32 Impressionism and Extended Tonality
    • 32.1 Impressionism
    • 32.2 Pandiatonicism
    • 32.3 Quartal, Quintal, and Secundal Harmony
    • 32.4 Polychords
    • 32.5 Practice Exercises
  • 33 Set Theory
    • 33.1 Set Theory
      • 33.1.1 Atonal Music
      • 33.1.2 Integer Notation for Pitches
      • 33.1.3 Integer Notation for Intervals
      • 33.1.4 Pitch-Class Sets
    • 33.2 Normal Form
    • 33.3 Prime Form
      • 33.3.1 Application of Normal Form and Prime Form
      • 33.3.2 Segmentation
    • 33.4 Interval Vector
    • 33.5 Forte Numbers
      • 33.5.1 Z-Relations
    • 33.6 Lists of Set Classes
    • 33.7 Transposition (T\(\text{}_{n}\))
    • 33.8 Inversion (T\(\text{}_{n}\)I)
      • 33.8.1 Identifying T\(\text{}_{n}\)I for Inversionally-Related Sets
    • 33.9 Practice Exercises
  • 34 Serialism
    • 34.1 Twelve-Tone Technique
      • 34.1.1 Row Forms
      • 34.1.2 Transposition Numbers
    • 34.2 Determining Row Forms
    • 34.3 Writing Row Forms
    • 34.4 Twelve-Tone Matrix
    • 34.5 Row Form Presentation in Music
    • 34.6 Non-Twelve-Tone Serialism
    • 34.7 Practice Exercises
  • 35 Minimalism
    • 35.1 Additive Minimalism
    • 35.2 Phase Shifting
    • 35.3 Homework Assignments
  • Back Matter
    • A Answers to Practice Exercises
    • B GNU Free Documentation License
    • Index
    • Colophon

Section6.1Introduction to Triads

A triad consists of three notes stacked in consecutive thirds. A triad is also called a chord as well as a harmony. (Harmony also refers to chord progressions.)🔗 The lowest note of a triad when it is stacked in thirds is called the root. The middle note is the third and the highest note of the triad is the fifth. (We will discuss inversions of triads later.)🔗 There are four qualities of triads—augmented, major, minor, and diminished.🔗 Major and minor triads are common, diminished triads are less common, and augmented triads are rare.🔗 🔗 PrevTopNext PreTeXt logoRunstone Academy logoMathJax logo

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