![]() ![]() For this reason, you may identify all augmented triads as 5/3 in tests. In an augmented triad, the symmetricality of the chord means that all intervals will “sound like” major thirds, regardless of the inversion and notation, because a diminished fourth is enharmonically equivalent to a major third. In a diminished triad, there will be an augmented fourth. In major and minor, there will be a perfect fourth. An inverted triad will have some kind of fourth (a larger interval than a third) in it. If unsure, listen contextually, using your solfege and diatonic harmonic logic. Be careful to distinguish between augmented and diminished triads, the two dissonant ones. Often you will be able to tell the chord quality from only one hearing. Memorize this chart that describes the terminology of how we spell the triad and its first and second inversions, including common abbreviations used to notate figured bass. In music terminology, we refer to a root position triad from the “top down” as 5/3. Triads in root position are composed of a root, third degree, and fifth degree. ![]() Because triads have three pitches, there are two possible inversions, which we call first inversion and second inversion. When we spell a triad in such a way that the lowest pitch is a note other than the root of the triad, we say that it is inverted. If you habitually confuse diminished with augmented triads, internalizing these principles will help. Sing and memorize the following excerpt, which teaches the four types of triad and their common solfege and function. Memorize Triads and Their Functions in Root Position We also find it as chord III + in harmonic minor again, this is relatively rare. When it does occur, it is usually spelled sol-ti-ri and appears as a chromatic variant of the dominant ( sol-ti-re). For this reason, many learners find it hard to sing. It doesn’t naturally occur within the tones of the diatonic major scale, and sounds very chromatic. It is relatively rare in diatonic harmony. The augmented triad is composed of two stacked major thirds. Not all chords relate to do, and this spelling has no context in diatonic music. Please don’t attempt to spell or sing the diminished triad do-me-se. In this class, we will always spell this chord ti-re-fa when we are singing it outside of a melodic or harmonic context. It functions as chord vii 0 in both major and minor keys, as well as chord ii 0 in minor keys. The diminished triad is composed of two stacked minor thirds. In major keys, it appears commonly as chord ii ( re-fa-la) and as chord vi ( la-do-mi). In minor keys, it appears most commonly as chord i ( do-me-sol). It also occurs within the diatonic scale. The minor triad is composed of a stacked minor third plus major third. It’s also very common for it to appear as chord IV in major keys ( fa-la-do). The two commonest ways it appears in diatonic harmony are as chord I in a major key ( do-mi-sol), and chord V ( sol-ti-re) in major AND minor keys. The major triad is composed of a stacked major third plus minor third. Ear Training - Triads in Review Triads - Review of the Principles ![]()
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