{"id":471,"date":"2023-05-11T19:02:19","date_gmt":"2023-05-11T19:02:19","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/triads\/"},"modified":"2025-08-12T22:08:33","modified_gmt":"2025-08-12T22:08:33","slug":"triads","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/triads\/","title":{"raw":"Triads","rendered":"Triads"},"content":{"raw":"<div class=\"triads\">\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">\u00a0Learning goals for Chapter 9<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\r\n\r\n<ul>\r\n \t<li>How to construct and identify the four triad types<\/li>\r\n \t<li>How to identify triads in musical contexts<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Triads\"><\/a>Triads<\/h1>\r\n<p class=\"import-Normal\">Intervals can be combined to create [pb_glossary id=\"1455\"]chords[\/pb_glossary]. The most common type of chord is called a [pb_glossary id=\"1456\"]triad[\/pb_glossary], which consists of three notes usually stacked in thirds. Triads can be one of four different qualities: [pb_glossary id=\"1457\"]major[\/pb_glossary] (\"MA\" or \u201cM\u201d), [pb_glossary id=\"1458\"]minor[\/pb_glossary] (\"mi\" or \u201cm\u201d), [pb_glossary id=\"934\"]diminished[\/pb_glossary] (\u201cd\u201d or \u201c<sup>o<\/sup>\u201d), or [pb_glossary id=\"935\"]augmented[\/pb_glossary] (\u201cA\u201d or \u201c+\u201d). An example of each with the [pb_glossary id=\"1461\"]root[\/pb_glossary] of D is shown in Example 9\u20111.<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Example 9\u20111. Triads on D<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image17.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image17.png\" alt=\"examples of triads written in staff notation\" class=\"alignnone\" width=\"1430\" height=\"187\" \/><\/a>\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-9.1-triads.mp3\"][\/audio]\r\n\r\n<\/div>\r\n<\/div>\r\nMajor 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.\r\n<p class=\"import-Normal\">Every triad has three parts:<\/p>\r\n\r\n<ul>\r\n \t<li>the [pb_glossary id=\"1461\"]root[\/pb_glossary], 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)<\/li>\r\n \t<li>the [pb_glossary id=\"1462\"]third[\/pb_glossary], which is the note that appears a third above the root when the triad is in its most compact form (e.g., F[latex]\\sharp[\/latex] is the third of the D major triad)<\/li>\r\n \t<li>the [pb_glossary id=\"1463\"]fifth[\/pb_glossary], 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)<\/li>\r\n<\/ul>\r\n<p class=\"import-Normal\">We say that a triad is in [pb_glossary id=\"1464\"]root position[\/pb_glossary] when the root appears as the lowest note. When the third or fifth is the lowest note, the triad is said to be [pb_glossary id=\"1465\"]inverted[\/pb_glossary]. The lowest note of any chord is called the [pb_glossary id=\"1466\"]bass[\/pb_glossary]. 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\u20111 appear in root position.<\/p>\r\n<p class=\"import-Normal\">There are several methods for spelling triads:<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 36pt\">METHOD 1. Memorize the types of thirds associated with each triad and build each as two stacks of thirds.<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 36pt\">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 [latex]\\hat{1}[\/latex], [latex]\\hat{3}[\/latex], and [latex]\\hat{5}[\/latex] of the major scale, and you will have a major triad.<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">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 [latex]\\hat{1}[\/latex], [latex]\\hat{3}[\/latex], and [latex]\\hat{5}[\/latex] of the minor scale whose tonic is the root of the desired triad.<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">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.<\/p>\r\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">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.<\/p>\r\n\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: T24 Intro to triads (6:28)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[embed]https:\/\/www.youtube.com\/embed\/iQLqbpAlbDg[\/embed]\r\n<p class=\"import-Normal\">This video introduces the four triad types\u2014major, minor, augmented, and diminished\u2014and shows you how to construct them from major and minor scales, as well as from major third and minor third intervals.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nThe first step to proficiency at spelling triads is mastering spelling major and minor thirds. Try this drill to practice this skill:\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId60\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/ic.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Construct major and minor thirds<\/span><\/a> (teoria)<\/p>\r\n\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n\r\nWant practice constructing and identifying triads? Try these drills:\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId61\" target=\"_blank\" href=\"https:\/\/tonesavvy.com\/music-practice-exercise\/7\/chord-building-game-treble\/\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing triads<\/span><\/a> (tonesavvy)<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId62\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c3c.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing triads<\/span><\/a> (teoria)<\/p>\r\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId63\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c3i.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying triads<\/span><\/a> (teoria)<\/p>\r\n\r\n<\/div>\r\n<h1><a id=\"Analysis with triads\"><\/a>EXERCISE 9-1 Analysis with triads<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 9-1 Analysis with triads<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\">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)<span>; label these as major or minor depending on the quality of the third, not diminished or augmented<\/span>. 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 [pb_glossary id=\"2863\"]non-chord tones[\/pb_glossary]).<\/p>\r\n\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 9\u20111. Robert Schumann, op. 68, no. 4, \u201cEin Chorale\u201d from <em>Album for the Young<\/em><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-984x1024.png\" alt=\"\" width=\"984\" height=\"1024\" class=\"alignnone size-large wp-image-6920\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev.png\"><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-1024x331.png\" alt=\"image of score\" width=\"1024\" height=\"331\" class=\"alignnone size-large wp-image-5845\" \/><\/a>\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-Schumann-op-68-no-4.mp3\"][\/audio]\r\n\r\nLearn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId59\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music article<\/span><\/a>, written by John Daverio and Eric Sams.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex9.1-Analysis-with-triads.pdf\" target=\"_blank\" rel=\"noopener\">Ex9.1 Analysis with triads<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Triads in context\"><\/a>EXERCISE 9-2 Triads in context<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 9-2 Triads in context<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nGiven 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.\r\n\r\nWorksheet example 9\u20112 features the following triads in a repeating progression: B[latex]\\flat[\/latex] major, D minor, E[latex]\\flat[\/latex] major, and A augmented.\r\n\r\n[h5p id=\"37\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 9\u20112. Muse, \u201cBlackout,\u201d 0:12\u20130:36<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.2-Muse-Blackout.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2nTgdpxwpXTk5x1c9yaO3W?si=abfb319b832543db\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about British alt-rock band <strong>Muse<\/strong> by reading this IMDb <a href=\"https:\/\/www.imdb.com\/name\/nm0615614\/bio\/\" target=\"_blank\" rel=\"noopener\">article<\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\nWorksheet example 9\u20113 features the following triads: C minor and B diminished (heard three times), then A[latex]\\flat[\/latex] major, E[latex]\\flat[\/latex] major, and F major.\r\n\r\n[h5p id=\"38\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 9\u20113. Broken Bells, \u201cSailing to Nowhere,\u201d 0:15\u20130:29<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.3-Broken-Bells.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1m2K0sPmwlktrmsqfSCsvb?si=09f6d5f9dd814521\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about 21st-century American indie rock duo <strong>Broken Bells<\/strong> by reading this last.fm <a href=\"https:\/\/www.last.fm\/music\/Broken+Bells\/+wiki\" target=\"_blank\" rel=\"noopener\">article<\/a>.\r\n\r\n<\/div>\r\n<\/div>\r\nWorksheet example 9\u20114 features the following triads in a repeating progression in the key of A major: A major, F augmented, F[latex]\\sharp[\/latex] minor, F augmented.\r\n\r\n[h5p id=\"39\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 9\u20114. Robbie Dupree, \u201cSteal Away,\u201d 0:15\u20130:31<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.4-Robbie-Dupree.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7v5rsCN3LhX9XaIlWyTdx3?si=c68e47025c4741d8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American singer-songwriter <strong>Robbie Dupree<\/strong> (b. 1946) by reading the <a href=\"https:\/\/robbiedupree.com\/about\/\" target=\"_blank\" rel=\"noopener\">bio<\/a> on his official website.\r\n\r\n<\/div>\r\n<\/div>\r\nWorksheet example 9\u20115 uses a similar progression, but instead appears in the key of B[latex]\\flat[\/latex] major. It features the following chords: B[latex]\\flat[\/latex] major, G[latex]\\flat[\/latex] augmented, G minor, G[latex]\\flat[\/latex] augmented.\r\n\r\n[h5p id=\"40\"]\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 9\u20115. Sparklehorse, \u201cGold Day,\u201d 0:12\u20130:33<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.5-Sparklehorse.mp3\"][\/audio]\r\n\r\nListen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7yZF4VuAjjcXjcMbqwZtQc?si=f8a01d305e404718\">Spotify<\/a>.\r\n\r\nLearn more about American singer-songwriter <strong>Mark Linkous <\/strong>(1962\u20132010), creator of Sparklehorse, by reading his <a href=\"https:\/\/marklinkous.com\/story\/\">bio<\/a> at the artist\u2019s website, written by Ally Carnwath.\r\n\r\n<\/div>\r\n<\/div>\r\nAccess a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex9.2-Triads-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex9.2 Triads in context<\/a>\r\n\r\nSpotify playlist for triads in context: <a class=\"rId64\" href=\"https:\/\/open.spotify.com\/playlist\/6e0OqXQVcqbJGhSZyPf9tt?si=3fbe2593b13e4429\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Triads in context playlist<\/span><\/a>\r\n\r\n<\/div>\r\n<\/div>\r\n\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 9<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n<p class=\"import-Normal\"><a class=\"rId65\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/TriadsIntroduction.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson's chapter on triads<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId66\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/13-triads\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount's chapter on triads and Roman numerals<\/span><\/a><\/p>\r\n<p class=\"import-Normal\"><a class=\"rId67\" href=\"https:\/\/gmajormusictheory.org\/Fundamentals\/Ch10.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Gilbert <\/span><span class=\"import-Hyperlink\">DeBenedetti's<\/span><span class=\"import-Hyperlink\"> chapter on triads<\/span><\/a><\/p>\r\n<a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/triads\/\" target=\"_blank\" rel=\"noopener\">Chelsea Hamm's chapter on triads<\/a> (Open Music Theory)\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"triads\">\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">\u00a0Learning goals for Chapter 9<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">In this chapter, we will learn:<\/p>\n<ul>\n<li>How to construct and identify the four triad types<\/li>\n<li>How to identify triads in musical contexts<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<h1><a id=\"Triads\"><\/a>Triads<\/h1>\n<p class=\"import-Normal\">Intervals can be combined to create <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1455\">chords<\/a>. The most common type of chord is called a <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1456\">triad<\/a>, which consists of three notes usually stacked in thirds. Triads can be one of four different qualities: <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1457\">major<\/a> (&#8220;MA&#8221; or \u201cM\u201d), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1458\">minor<\/a> (&#8220;mi&#8221; or \u201cm\u201d), <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_934\">diminished<\/a> (\u201cd\u201d or \u201c<sup>o<\/sup>\u201d), or <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_935\">augmented<\/a> (\u201cA\u201d or \u201c+\u201d). An example of each with the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1461\">root<\/a> of D is shown in Example 9\u20111.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Example 9\u20111. Triads on D<\/p>\n<\/header>\n<div class=\"textbox__content\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image17.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/image17.png\" alt=\"examples of triads written in staff notation\" class=\"alignnone\" width=\"1430\" height=\"187\" \/><\/a><br \/>\n<audio class=\"wp-audio-shortcode\" id=\"audio-471-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-9.1-triads.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-9.1-triads.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex-9.1-triads.mp3<\/a><\/audio><\/p>\n<\/div>\n<\/div>\n<p>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.<\/p>\n<p class=\"import-Normal\">Every triad has three parts:<\/p>\n<ul>\n<li>the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1461\">root<\/a>, 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)<\/li>\n<li>the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1462\">third<\/a>, which is the note that appears a third above the root when the triad is in its most compact form (e.g., F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> is the third of the D major triad)<\/li>\n<li>the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1463\">fifth<\/a>, 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)<\/li>\n<\/ul>\n<p class=\"import-Normal\">We say that a triad is in <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1464\">root position<\/a> when the root appears as the lowest note. When the third or fifth is the lowest note, the triad is said to be <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1465\">inverted<\/a>. The lowest note of any chord is called the <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_1466\">bass<\/a>. 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\u20111 appear in root position.<\/p>\n<p class=\"import-Normal\">There are several methods for spelling triads:<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 36pt\">METHOD 1. Memorize the types of thirds associated with each triad and build each as two stacks of thirds.<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 36pt\">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 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> of the major scale, and you will have a major triad.<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">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 <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-a39bc1789eaec8fb0f064f247aee204c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#49;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"7\" style=\"vertical-align: 0px;\" \/>, <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-e4613cf46b5ba5f7a0e3da296ab92a17_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#51;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"9\" style=\"vertical-align: 0px;\" \/>, and <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-007e62d9808d6b172da8b2875347ade1_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#104;&#97;&#116;&#123;&#53;&#125;\" title=\"Rendered by QuickLaTeX.com\" height=\"16\" width=\"8\" style=\"vertical-align: 0px;\" \/> of the minor scale whose tonic is the root of the desired triad.<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">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.<\/p>\n<p class=\"import-Normal\" style=\"margin-left: 72pt\">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.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: T24 Intro to triads (6:28)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"T24 Intro to Triads\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/iQLqbpAlbDg?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p class=\"import-Normal\">This video introduces the four triad types\u2014major, minor, augmented, and diminished\u2014and shows you how to construct them from major and minor scales, as well as from major third and minor third intervals.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">\n<p>The first step to proficiency at spelling triads is mastering spelling major and minor thirds. Try this drill to practice this skill:<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId60\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/ic.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Construct major and minor thirds<\/span><\/a> (teoria)<\/p>\n<\/div>\n<div class=\"textbox shaded\">\n<p>Want practice constructing and identifying triads? Try these drills:<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId61\" target=\"_blank\" href=\"https:\/\/tonesavvy.com\/music-practice-exercise\/7\/chord-building-game-treble\/\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing triads<\/span><\/a> (tonesavvy)<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId62\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c3c.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice constructing triads<\/span><\/a> (teoria)<\/p>\n<p class=\"import-Normal\" style=\"padding-left: 40px\"><a class=\"rId63\" target=\"_blank\" href=\"https:\/\/www.teoria.com\/en\/exercises\/c3i.php\" rel=\"noopener\"><span class=\"import-Hyperlink\">Practice identifying triads<\/span><\/a> (teoria)<\/p>\n<\/div>\n<h1><a><\/a>EXERCISE 9-1 Analysis with triads<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 9-1 Analysis with triads<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\">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)<span>; label these as major or minor depending on the quality of the third, not diminished or augmented<\/span>. 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 <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_471_2863\">non-chord tones<\/a>).<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 9\u20111. Robert Schumann, op. 68, no. 4, \u201cEin Chorale\u201d from <em>Album for the Young<\/em><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-984x1024.png\" alt=\"\" width=\"984\" height=\"1024\" class=\"alignnone size-large wp-image-6920\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-984x1024.png 984w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-288x300.png 288w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-768x799.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-1476x1536.png 1476w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-1968x2048.png 1968w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-65x68.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-225x234.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt1-rev2-350x364.png 350w\" sizes=\"auto, (max-width: 984px) 100vw, 984px\" \/><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev.png\"><\/a><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-1024x331.png\" alt=\"image of score\" width=\"1024\" height=\"331\" class=\"alignnone size-large wp-image-5845\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-1024x331.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-300x97.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-768x249.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-1536x497.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-2048x663.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-65x21.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-225x73.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-pt2-rev-350x113.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-471-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-Schumann-op-68-no-4.mp3?_=2\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-Schumann-op-68-no-4.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.1-Schumann-op-68-no-4.mp3<\/a><\/audio><\/p>\n<p>Learn about German composer <strong>Robert Schumann<\/strong> (1810\u20131856) by reading this <a class=\"rId59\" href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.40704\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Oxford Music article<\/span><\/a>, written by John Daverio and Eric Sams.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/06\/Ex9.1-Analysis-with-triads.pdf\" target=\"_blank\" rel=\"noopener\">Ex9.1 Analysis with triads<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 9-2 Triads in context<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 9-2 Triads in context<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>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.<\/p>\n<p>Worksheet example 9\u20112 features the following triads in a repeating progression: B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, D minor, E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, and A augmented.<\/p>\n<div id=\"h5p-37\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-37\" class=\"h5p-iframe\" data-content-id=\"37\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 9.2 Muse\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 9\u20112. Muse, \u201cBlackout,\u201d 0:12\u20130:36<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-471-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.2-Muse-Blackout.mp3?_=3\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.2-Muse-Blackout.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.2-Muse-Blackout.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/2nTgdpxwpXTk5x1c9yaO3W?si=abfb319b832543db\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about British alt-rock band <strong>Muse<\/strong> by reading this IMDb <a href=\"https:\/\/www.imdb.com\/name\/nm0615614\/bio\/\" target=\"_blank\" rel=\"noopener\">article<\/a>.<\/p>\n<\/div>\n<\/div>\n<p>Worksheet example 9\u20113 features the following triads: C minor and B diminished (heard three times), then A<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, and F major.<\/p>\n<div id=\"h5p-38\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-38\" class=\"h5p-iframe\" data-content-id=\"38\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 9.3 Broken Bells\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 9\u20113. Broken Bells, \u201cSailing to Nowhere,\u201d 0:15\u20130:29<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-471-4\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.3-Broken-Bells.mp3?_=4\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.3-Broken-Bells.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.3-Broken-Bells.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/1m2K0sPmwlktrmsqfSCsvb?si=09f6d5f9dd814521\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about 21st-century American indie rock duo <strong>Broken Bells<\/strong> by reading this last.fm <a href=\"https:\/\/www.last.fm\/music\/Broken+Bells\/+wiki\" target=\"_blank\" rel=\"noopener\">article<\/a>.<\/p>\n<\/div>\n<\/div>\n<p>Worksheet example 9\u20114 features the following triads in a repeating progression in the key of A major: A major, F augmented, F<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-ff51ac680d6bea2ba79d15ba08ffcca2_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#115;&#104;&#97;&#114;&#112;\" title=\"Rendered by QuickLaTeX.com\" height=\"17\" width=\"6\" style=\"vertical-align: -4px;\" \/> minor, F augmented.<\/p>\n<div id=\"h5p-39\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-39\" class=\"h5p-iframe\" data-content-id=\"39\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 9.4 Dupree\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 9\u20114. Robbie Dupree, \u201cSteal Away,\u201d 0:15\u20130:31<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-471-5\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.4-Robbie-Dupree.mp3?_=5\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.4-Robbie-Dupree.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.4-Robbie-Dupree.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7v5rsCN3LhX9XaIlWyTdx3?si=c68e47025c4741d8\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American singer-songwriter <strong>Robbie Dupree<\/strong> (b. 1946) by reading the <a href=\"https:\/\/robbiedupree.com\/about\/\" target=\"_blank\" rel=\"noopener\">bio<\/a> on his official website.<\/p>\n<\/div>\n<\/div>\n<p>Worksheet example 9\u20115 uses a similar progression, but instead appears in the key of B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major. It features the following chords: B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> major, G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> augmented, G minor, G<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> augmented.<\/p>\n<div id=\"h5p-40\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-40\" class=\"h5p-iframe\" data-content-id=\"40\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"WE 9.5 Sparklehorse\"><\/iframe><\/div>\n<\/div>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 9\u20115. Sparklehorse, \u201cGold Day,\u201d 0:12\u20130:33<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><audio class=\"wp-audio-shortcode\" id=\"audio-471-6\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.5-Sparklehorse.mp3?_=6\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.5-Sparklehorse.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-9.5-Sparklehorse.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track on <a href=\"https:\/\/open.spotify.com\/track\/7yZF4VuAjjcXjcMbqwZtQc?si=f8a01d305e404718\">Spotify<\/a>.<\/p>\n<p>Learn more about American singer-songwriter <strong>Mark Linkous <\/strong>(1962\u20132010), creator of Sparklehorse, by reading his <a href=\"https:\/\/marklinkous.com\/story\/\">bio<\/a> at the artist\u2019s website, written by Ally Carnwath.<\/p>\n<\/div>\n<\/div>\n<p>Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex9.2-Triads-in-context.pdf\" target=\"_blank\" rel=\"noopener\">Ex9.2 Triads in context<\/a><\/p>\n<p>Spotify playlist for triads in context: <a class=\"rId64\" href=\"https:\/\/open.spotify.com\/playlist\/6e0OqXQVcqbJGhSZyPf9tt?si=3fbe2593b13e4429\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Triads in context playlist<\/span><\/a><\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 9<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p class=\"import-Normal\"><a class=\"rId65\" href=\"http:\/\/musictheory.pugetsound.edu\/mt21c\/TriadsIntroduction.html\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Robert Hutchinson&#8217;s chapter on triads<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId66\" href=\"https:\/\/milnepublishing.geneseo.edu\/fundamentals-function-form\/chapter\/13-triads\/\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Andre Mount&#8217;s chapter on triads and Roman numerals<\/span><\/a><\/p>\n<p class=\"import-Normal\"><a class=\"rId67\" href=\"https:\/\/gmajormusictheory.org\/Fundamentals\/Ch10.pdf\" target=\"_blank\" rel=\"noopener\"><span class=\"import-Hyperlink\">Gilbert <\/span><span class=\"import-Hyperlink\">DeBenedetti&#8217;s<\/span><span class=\"import-Hyperlink\"> chapter on triads<\/span><\/a><\/p>\n<p><a href=\"https:\/\/viva.pressbooks.pub\/openmusictheory\/chapter\/triads\/\" target=\"_blank\" rel=\"noopener\">Chelsea Hamm&#8217;s chapter on triads<\/a> (Open Music Theory)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_471_1455\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1455\"><div tabindex=\"-1\"><p>any combination of more than two notes<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_1456\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1456\"><div tabindex=\"-1\"><p>type of chord that consists of three notes, stacked in thirds<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_1457\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1457\"><div tabindex=\"-1\"><p>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<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_1458\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1458\"><div tabindex=\"-1\"><p>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<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_934\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_934\"><div tabindex=\"-1\"><p>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<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_935\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_935\"><div tabindex=\"-1\"><p>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)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_1461\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1461\"><div tabindex=\"-1\"><p>the fundamental note from which a chord is built<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_1462\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1462\"><div tabindex=\"-1\"><p>with regard to chords, the note that appears a third above the root when the triad is in its most compact form<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_1463\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1463\"><div tabindex=\"-1\"><p>with regard to chords, the note that appears a fifth above the root when the triad is in its most compact form<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_1464\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1464\"><div tabindex=\"-1\"><p>designation for chords whose lowest note is also the root of the chord<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_1465\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1465\"><div tabindex=\"-1\"><p>designation for chords that feature a member other than the root as the lowest note<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_1466\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_1466\"><div tabindex=\"-1\"><p>with regard to chords, the lowest sounding note of a particular chord; with regard to voices, the lowest voice part notated in bass clef<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_471_2863\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_471_2863\"><div tabindex=\"-1\"><p>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<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":9,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-471","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/471","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":58,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/471\/revisions"}],"predecessor-version":[{"id":7006,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/471\/revisions\/7006"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/471\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=471"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=471"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=471"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=471"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}