The interval from third to fifth (A to C sharp) is a M3. The interval from root to third (F sharp to A) is a minor 3rd. For example, consider the following triad: To determine the quality of a triad, identify the qualities of its two component thirds (from root to third, and from third to fifth), and compare to the triad quality definitions above. If we stack two major triads atop one another, the result is an AUGMENTED TRIAD. And there is one more type of triad, which can’t be constructed from the diatonic pitches in a single key, but which is nonetheless important to know. If you examine the remaining triads, you’ll notice that they are all either major or minor triads, except for one: The first is called a MAJOR TRIAD the second is called a MINOR TRIAD. This gives us two different types of triads. The first consists of a major third surmounted by a minor third:īut the second has a minor third surmounted by a major one: Let’s now investigate the structure of these triads by examining the thirds they comprise. We can build a triad on each scale degree in a major scale, using only the pitches from the key of that scale: To begin with, let’s build triads by using only the pitches in a single major key. The pitch a third above the root is called the THIRD, and the pitch a fifth above the root is called the FIFTH: Root, Third, and Fifth When triads are viewed as a stack of thirds, the lowest pitch is the ROOT. Triads may be thought of as generated by stacking two thirds atop one another. We’ll begin by investigating the simplest of chords - triads. In fact, what we consider to be a chord is based on some narrow restrictions, stemming from acoustic principles and cultural practices.

In Western tonal music, not every combination of three or more pitches forms a chord. We’ll investigate three- and four-note chords in this unit, and touch on the idea of extending chords with more pitches. Others feel that some chords can be formed even by five or more pitches. Some musicians feel that only certain three- and four-note groups constitute chords. Three or more pitches can combine to form what musicians call a CHORD. Two pitches can combine to form an interval. This unit will examine combinations of three or more pitches as they form chords. The following videos review the operative concepts: Thus far, we’ve discussed individual pitches (in Units 3, 5, and 6), and pairs of pitches and the intervals they form (in Unit 7).

E flat major triad