Overview
In chapter 7, we covered triads and seventh chords. We also went over their inversions, finding what type of chord they are through steps, and more.
Triads
The easiest way for me to explain a triad is that it is a 1st and a 3rd and 5th stacked above that bass note. Also for future preference, a bass note is the bottom note of the triad/chord. And a root note is the name of the triad, like the triad's tonic. The root can also be moved around during inversions. Anyways, there are 4 types of triads: major, minor, augmented, and diminished. There are two ways to figure out what type of chord the triad is.
Method 1 Steps:
1. Find root to name key
2. Go a third up from root (what type of third it is comes into play later)
3. Go up a fifth from root (what type of fifth comes into play later)
Now that you have those intervals, you can evaluate what type of chord it is.
Major Triad= root, M3, P5
Minor Triad= root, m3, P5
Augmented Triad= root, M3, +5
Diminished Triad= root, m3, dim5
Method 2 Steps:
1. Find root to name key
2. Count half steps to third (comes into play later)
3. Count half steps from third to fifth (comes into play later)
Major Triad= root, M3 (4), m3 (3)
Minor Triad= root, m3 (3), M3 (4)
Augmented Triad= root, M3 (4), M3 (4)
Diminished Triad= root, m3 (3), m3 (3)
I personally prefer to use method 2. Here is another visual example of method 2:
Method 1 Steps:
1. Find root to name key
2. Go a third up from root (what type of third it is comes into play later)
3. Go up a fifth from root (what type of fifth comes into play later)
Now that you have those intervals, you can evaluate what type of chord it is.
Major Triad= root, M3, P5
Minor Triad= root, m3, P5
Augmented Triad= root, M3, +5
Diminished Triad= root, m3, dim5
Method 2 Steps:
1. Find root to name key
2. Count half steps to third (comes into play later)
3. Count half steps from third to fifth (comes into play later)
Major Triad= root, M3 (4), m3 (3)
Minor Triad= root, m3 (3), M3 (4)
Augmented Triad= root, M3 (4), M3 (4)
Diminished Triad= root, m3 (3), m3 (3)
I personally prefer to use method 2. Here is another visual example of method 2:
Now that we can identify triads, we can get into their inversions. A triad can be placed in one of 3 ways, root position, 1st inversion, and second inversion.
ROOT POSITION:
This is when the root of the triad is in the bass.
To show that a triad is in root position, you would write the name of the triad then followed by a ^53. Ex: Gmaj^53
1ST INVERSION:
This is when the root is flipped up or down an octave is how I would describe it. 3rd is in bass.
To show that a triad is in 1st inversion, you would write the name of the triad followed by ^63 or 6. Ex: Gmaj6 or Gmaj^63
2ND INVERSION:
This is when the root and third are flipped an octave and the 5th is in the bass.
To show that a triad is in 2nd inversion, you would write the name of the root followed by a ^64. Ex: Gmaj^64.
ROOT POSITION:
This is when the root of the triad is in the bass.
To show that a triad is in root position, you would write the name of the triad then followed by a ^53. Ex: Gmaj^53
1ST INVERSION:
This is when the root is flipped up or down an octave is how I would describe it. 3rd is in bass.
To show that a triad is in 1st inversion, you would write the name of the triad followed by ^63 or 6. Ex: Gmaj6 or Gmaj^63
2ND INVERSION:
This is when the root and third are flipped an octave and the 5th is in the bass.
To show that a triad is in 2nd inversion, you would write the name of the root followed by a ^64. Ex: Gmaj^64.
ROMAN NUMERALS:
You can also identify a triad (and seventh chord for that matter) by a roman numeral. This just goes by the number of letter notes a triad is away from the tonic of the key signature. For example, an E triad in the key of C would be a iii. You also right the root inversion/position next to these roman numerals. There are patterns that follow diatonic triads with these roman numerals as well. Instead of writing out every option, I'll just show this self explanatory picture:
You can also identify a triad (and seventh chord for that matter) by a roman numeral. This just goes by the number of letter notes a triad is away from the tonic of the key signature. For example, an E triad in the key of C would be a iii. You also right the root inversion/position next to these roman numerals. There are patterns that follow diatonic triads with these roman numerals as well. Instead of writing out every option, I'll just show this self explanatory picture:
Seventh Chords
Seventh chords are essentially the same as triads, but with an additional note. There are a couple types of 7th chords we mainly use (excluding augmented 3rd chord). Major-major (major), Major- minor (dominant), Minor-minor (minor), Half-diminished (half diminished), Full-diminished (diminished).
To identify a 7th chord, there are two main steps:
1. Identify triad type
2. Find quality of the 7th note
The method I use is to find the type of triad I have, then find if the 7th is a minor, minor, augmented, or diminished 7th to figure out what kind it is.
-2 half steps from triad: diminished
-3 half steps from triad: minor
-4 half steps from triad: major
When naming the type of seventh chord this chart helps:
To identify a 7th chord, there are two main steps:
1. Identify triad type
2. Find quality of the 7th note
The method I use is to find the type of triad I have, then find if the 7th is a minor, minor, augmented, or diminished 7th to figure out what kind it is.
-2 half steps from triad: diminished
-3 half steps from triad: minor
-4 half steps from triad: major
When naming the type of seventh chord this chart helps:
Now that you can identify the type of seventh chords, you need to find what type of inversion it is in.
ROOT POSITION:
When your seventh chord is in root position the root is in the bass.
The abbreviation for a root position is 7. Ex: G7
1ST INVERSION:
When your seventh chord is in 1st inversion the 3rd is in the bass.
The abbreviation for 1st inversion is ^65. Ex: G^65
2ND INVERSION:
When your seventh chord is in 2nd inversion the 5th is in the bass.
The abbreviation for 2nd inversion is ^43. Ex: G^43
3RD INVERSION:
When your seventh chord is in 3rd inversion the 7th is in the bass.
The abbreviation for 3rd inversion is ^42. Ex: G^42
ROOT POSITION:
When your seventh chord is in root position the root is in the bass.
The abbreviation for a root position is 7. Ex: G7
1ST INVERSION:
When your seventh chord is in 1st inversion the 3rd is in the bass.
The abbreviation for 1st inversion is ^65. Ex: G^65
2ND INVERSION:
When your seventh chord is in 2nd inversion the 5th is in the bass.
The abbreviation for 2nd inversion is ^43. Ex: G^43
3RD INVERSION:
When your seventh chord is in 3rd inversion the 7th is in the bass.
The abbreviation for 3rd inversion is ^42. Ex: G^42
ROMAN NUMERALS:
You can also identify 7th chords with roman numerals followed by their inversion type. You do this the same as you would with a triad.
You can also identify 7th chords with roman numerals followed by their inversion type. You do this the same as you would with a triad.
Above are just examples of major and minor scales. However, there are slight alterations in harmonic/melodic minor.
SIDE NOTE:
In the V and vii of a minor scale, the 7th note of the scale is raised a half step.
SIDE NOTE:
In the V and vii of a minor scale, the 7th note of the scale is raised a half step.
REFLECTION:
All in all, this lesson was definitely the most challenging for me, and the class as a whole. Still, I think that I have become more comfortable working with these chords and triads and doesn't take as much thought as it did before. Overall, I think that next semester I will be able to make this skill stronger and will only progress positively from here.
All in all, this lesson was definitely the most challenging for me, and the class as a whole. Still, I think that I have become more comfortable working with these chords and triads and doesn't take as much thought as it did before. Overall, I think that next semester I will be able to make this skill stronger and will only progress positively from here.