the notes in a triad has a name, as shown in Figure 3-2. The bottom note is called the root, because it's the foundation on which the rest of the triad is built. The middle note is called the 3rd, because the interval between it and the root is a 3rd. The top note is called the 5th, again because the interval between it and the root is a 5th. When we study more complex chords, you'll find that this naming convention is used consistently: Each note in a chord is named after the interval created by its relationship with the root. But as mentioned in Chapter Two, it's important to understand that at this point we're using the terms "3rd" and "5th" in two distinct ways. Any two notes that are the right distance apart form an interval of a 3rd - but the upper note of the interval isn't necessarily the 3rd of the triad in which the two notes are being played. Looking at Figure 3-1, for instance, we can see that the interval of a 3rd separates the E and G in a C major triad. But that doesn't make the G the 3rd of the triad. The G is the 5th of the C major triad, because it's a 5th above the root. (G is also the 3rd of a different triad, one whose root is E.)
THE DIATONIC TRIADS IN THE MAJOR SCALE
In Chapter Two we looked at all of the intervals that are found in the major scale. We can construct whole triads out of the same scale, as Figure 3-3 shows. Play this example on the keyboard in order to get its sound firmly in your ear. You'll note that major triads are formed on the tonal steps of the scale (the tonic, 4th, and 5th), while the triads built on the modal steps are minor or diminished. There are no augmented triads within the major scale.
These triads are called diatonic because they use only the notes of the major scale, with no accidentals. If there were any accidentals in Figure 3-3, we'd have to say that some of the triads were chromatically altered. For comparison, play the triads in Figure 3-4. The roots of the triads in this figure are all within the major scale, but all of the triads are major.
Figure 3-3. The diatonic triads in C major.
The only diminished diatonic triad is the one built on the 7th step of the scale. While the other diatonic triads are often used in unaltered form in musical compositions, this diminished triad is rarely used by itself. As you'll learn in the next chapter, however, it's an important part of a more advanced type of chord called a dominant 7th chord.
Figure 3-4. In order to build a major triad on each step of the C major scale, we have to add accidentals. The first and last chords in each measure are diatonic, because all of their notes are drawn from the C major scale. However, the second and third chords in each measure are chromatically altered: They contain one or more notes that are not part of the C major scale.
CHORD NAMES OF TRIADS
Look again at Figure 3-3, and identify the root of each triad. (It's the bottom note in the triad.) The chord name of a triad consists of the letter-name of the root followed by a description of the type of triad. The root of the first triad is C, and it's a major triad, so it's called a C major chord. The root of the second triad is D, and it's a minor triad, so it's a D minor chord. And so on.
In the case of triadic chords - chords that consist of triad notes with no other notes - the word "chord" is often used in place of "triad:" If someone refers to a G major chord, for instance, without giving any further description, you can safely assume that they're referring to a triad, a chord containing only the notes G, B, and D.
With this extremely practical bit of knowledge at your fingertips, you'll be able to pick out accompaniments for dozens of well-known songs. Any song that uses only simple triads can be harmonized (that is, a harmony part can be added) by playing the appropriate triads beneath the melody. On the keyboard, the usual way to do this is by playing the chords with the left hand and the melody with the right. On
THE DIATONIC TRIADS IN THE MAJOR SCALE
In Chapter Two we looked at all of the intervals that are found in the major scale. We can construct whole triads out of the same scale, as Figure 3-3 shows. Play this example on the keyboard in order to get its sound firmly in your ear. You'll note that major triads are formed on the tonal steps of the scale (the tonic, 4th, and 5th), while the triads built on the modal steps are minor or diminished. There are no augmented triads within the major scale.
These triads are called diatonic because they use only the notes of the major scale, with no accidentals. If there were any accidentals in Figure 3-3, we'd have to say that some of the triads were chromatically altered. For comparison, play the triads in Figure 3-4. The roots of the triads in this figure are all within the major scale, but all of the triads are major.
Figure 3-3. The diatonic triads in C major.
The only diminished diatonic triad is the one built on the 7th step of the scale. While the other diatonic triads are often used in unaltered form in musical compositions, this diminished triad is rarely used by itself. As you'll learn in the next chapter, however, it's an important part of a more advanced type of chord called a dominant 7th chord.
Figure 3-4. In order to build a major triad on each step of the C major scale, we have to add accidentals. The first and last chords in each measure are diatonic, because all of their notes are drawn from the C major scale. However, the second and third chords in each measure are chromatically altered: They contain one or more notes that are not part of the C major scale.
CHORD NAMES OF TRIADS
Look again at Figure 3-3, and identify the root of each triad. (It's the bottom note in the triad.) The chord name of a triad consists of the letter-name of the root followed by a description of the type of triad. The root of the first triad is C, and it's a major triad, so it's called a C major chord. The root of the second triad is D, and it's a minor triad, so it's a D minor chord. And so on.
In the case of triadic chords - chords that consist of triad notes with no other notes - the word "chord" is often used in place of "triad:" If someone refers to a G major chord, for instance, without giving any further description, you can safely assume that they're referring to a triad, a chord containing only the notes G, B, and D.
With this extremely practical bit of knowledge at your fingertips, you'll be able to pick out accompaniments for dozens of well-known songs. Any song that uses only simple triads can be harmonized (that is, a harmony part can be added) by playing the appropriate triads beneath the melody. On the keyboard, the usual way to do this is by playing the chords with the left hand and the melody with the right. On
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