Main Body
9 Triads
Learning goals for Chapter 9
In this chapter, we will learn:
- How to construct and identify the four triad types
- How to identify triads in musical contexts
Triads
Intervals can be combined to create . The most common type of chord is called a , which consists of three notes usually stacked in thirds. Triads can be one of four different qualities: (“MA” or “M”), (“mi” or “m”), (“d” or “o”), or (“A” or “+”). An example of each with the of D is shown in Example 9‑1.
Example 9‑1. Triads on D
Major and minor triads are the most common in tonal music, followed by the less common diminished quality and the rarest of all, the augmented quality.
Every triad has three parts:
- the , which is its fundamental pitch and also the letter for which the triad is named (e.g., D is the root of the D major triad)
- the , which is the note that appears a third above the root when the triad is in its most compact form (e.g., F
is the third of the D major triad) - the , which is the note that appears a fifth above the root when the triad is in its most compact form (e.g., A is the fifth of the D major triad)
We say that a triad is in when the root appears as the lowest note. When the third or fifth is the lowest note, the triad is said to be . The lowest note of any chord is called the . When a triad appears in root position, the root is also the bass note. When a triad is inverted, the bass note will be either the third or the fifth, and never the root. All of the triads in Example 9‑1 appear in root position.
There are several methods for spelling triads:
METHOD 1. Memorize the types of thirds associated with each triad and build each as two stacks of thirds.
METHOD 2. You can derive any major triad from the major scale whose tonic is the root of the triad you are spelling. Simply take scale degrees 
, 
, and 
of the major scale, and you will have a major triad.
EXTENSION (A). In order to get a minor triad, you can either lower the third of a major triad by one half step, or take scale degrees , , and of the minor scale whose tonic is the root of the desired triad.
EXTENSION (B). In order to get an augmented triad, spell the major triad with the same root as the desired triad and raise the fifth of the chord by one half step.
EXTENSION (C). In order to get a diminished triad, spell the minor triad with the same root as the desired triad and lower the fifth of the chord by one half step.
Video: T24 Intro to triads (6:28)
This video introduces the four triad types—major, minor, augmented, and diminished—and shows you how to construct them from major and minor scales, as well as from major third and minor third intervals.
The first step to proficiency at spelling triads is mastering spelling major and minor thirds. Try this drill to practice this skill:
Construct major and minor thirds (teoria)
Want practice constructing and identifying triads? Try these drills:
Practice constructing triads (tonesavvy)
Practice constructing triads (teoria)
Practice identifying triads (teoria)
Analysis with triads
EXERCISE 9-1 Analysis with triads
Listen to and study the example below. For each chord, label the root, quality, and bass note below the staff, where blanks are provided. The first one is done for you. Some chords may only have a root and third (with the fifth omitted); label these as major or minor depending on the quality of the third, not diminished or augmented. Several chords that appear are not triads. The answers for these are given in brackets beneath the staff. Ignore the notes that have arrows above them in the last system (they are ).
Worksheet example 9‑1. Robert Schumann, op. 68, no. 4, “Ein Chorale” from Album for the Young
Learn about German composer Robert Schumann (1810–1856) by reading this Oxford Music article, written by John Daverio and Eric Sams.
Triads in context
EXERCISE 9-2 Triads in context
Given the chord symbols above the staff, spell each chord and then listen to the progressions featured in the following examples. Select the right arrow over each image to view the answer.
Worksheet example 9‑2 features the following triads in a repeating progression: B
major, D minor, E major, and A augmented.
Worksheet example 9‑2. Muse, “Blackout,” 0:12–0:36
Worksheet example 9‑3 features the following triads: C minor and B diminished (heard three times), then A major, E major, and F major.
Worksheet example 9‑3. Broken Bells, “Sailing to Nowhere,” 0:15–0:29
Worksheet example 9‑4 features the following triads in a repeating progression in the key of A major: A major, F augmented, F minor, F augmented.
Worksheet example 9‑4. Robbie Dupree, “Steal Away,” 0:15–0:31
Worksheet example 9‑5 uses a similar progression, but instead appears in the key of B major. It features the following chords: B major, G augmented, G minor, G augmented.
Worksheet example 9‑5. Sparklehorse, “Gold Day,” 0:12–0:33
Access a printer-friendly .pdf of the exercise here: Ex9.2 Triads in context
Spotify playlist for triads in context: Triads in context playlist
Supplemental resources for Chapter 9
any combination of more than two notes
type of chord that consists of three notes, stacked in thirds
term denoting quality; related to triads, it refers to the chord with a MA3 between root and third and mi3 between third and fifth; related to seventh chords, it refers to the chord with a MA3 between root and third, mi3 between third and fifth, and MA3 between fifth and seventh; related to intervals, it refers to any second, third, sixth, or seventh that derives from the major scale of the lower note of the interval
term denoting quality; related to triads, it refers to chords with a mi3 between root and third and a MA3 between third and fifth; as it relates to seventh chords, it refers to those with a mi3 between root and third, MA3 between third and fifth, and mi3 between fifth and seventh; as it relates to intervals, it refers to seconds, thirds, sixths, and sevenths that are one half step smaller than their major interval equivalents
term denoting quality of an interval (one half step smaller in size than its minor or perfect counterpart), quality of a triad (comprising two minor thirds), or quality of a seventh chord
term denoting quality of an interval (one half step larger than its major or perfect counterpart), or quality of a triad (comprising two major thirds)
the fundamental note from which a chord is built
with regard to chords, the note that appears a third above the root when the triad is in its most compact form
with regard to chords, the note that appears a fifth above the root when the triad is in its most compact form
designation for chords whose lowest note is also the root of the chord
designation for chords that feature a member other than the root as the lowest note
with regard to chords, the lowest sounding note of a particular chord; with regard to voices, the lowest voice part notated in bass clef
notes that do not belong in a given chord; for example, D would be a non-chord tone in relationship to a C major triad
