{"id":69,"date":"2024-04-04T13:58:47","date_gmt":"2024-04-04T17:58:47","guid":{"rendered":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/?post_type=chapter&p=69"},"modified":"2024-08-09T13:28:47","modified_gmt":"2024-08-09T17:28:47","slug":"triad-qualities","status":"publish","type":"chapter","link":"https:\/\/openbooks.macewan.ca\/introtomusictheory\/chapter\/triad-qualities\/","title":{"raw":"Triad Qualities","rendered":"Triad Qualities"},"content":{"raw":"Similar to intervals, triads have various qualities. There are four main qualities, starting with major. All of the other qualities can be analyzed and created by starting with a major triad.\r\n

Minor Triad<\/h2>\r\nAs the major triad is based on the first (root), third, and fifth of the major scale, we can create the other qualities of triads by slightly altering the third or fifth of the triad. We cannot alter the root of the triad as that changes the note on which the triad is based.\r\n\r\nWhen lowering the third by one semitone, a major triad can become a minor triad.<\/a>\r\n\r\n[caption id=\"attachment_637\" align=\"aligncenter\" width=\"1024\"]\"Figure Figure 22.1 F major and F minor. [Image description \u2013 See Appendix C Figure 22.1<\/a>][\/caption]It is also possible to create a minor triad by taking the first, third, and fifth notes of any of the minor scales.<\/a>\r\n\r\n[caption id=\"attachment_639\" align=\"aligncenter\" width=\"1024\"]\"Figure Figure 22.2 [Image description \u2013 See Appendix C Figure 22.2<\/a>][\/caption]\r\n

Diminished Triad<\/h2>\r\nThe next triad quality to be examined is diminished. This can be created by lowering both the third and fifth of a major triad by one semitone.\r\n
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Example<\/p>\r\n\r\n<\/header>\r\n

\r\n\r\n[h5p id=\"61\"]\r\n\r\n<\/div>\r\n<\/div>\r\n

Augmented Triad<\/a><\/h2>\r\n[caption id=\"attachment_698\" align=\"aligncenter\" width=\"1024\"]\"Figure Figure 22.3 [Image description \u2013 See Appendix C Figure 22.3<\/a>][\/caption]The last quality is augmented. The augmented triad is created when the fifth of a major triad is raised by one semitone.\r\n\r\nIn the image above, the G on the C triad has been raised using a sharp symbol by one semitone, creating a C aug triad in the second bar.\r\n

Creating and Analyzing a Triad<\/h2>\r\nWhen creating or analyzing a triad, the simplest method is to start with identifying the major key of the root of the triad.\u00a0<\/span>\r\n\r\n \r\n\r\nFor example:<\/a>\r\n\r\n[caption id=\"attachment_696\" align=\"aligncenter\" width=\"300\"]\"Figure Figure 22.4 E diminished triad. [Image description \u2013 See Appendix C Figure 22.4<\/a>][\/caption]In the image above, the root of the triad is E.\u00a0 E major scale and key signature has four sharps, F\ud834\udd30, C\ud834\udd30, G\ud834\udd30, and D\ud834\udd30. As the G does not have the sharp found in the key signature, it has been lowered by one semitone. The Bb also has also been lowered by one semitone from the E major key signature. Because both the third and fifth have been lowered by one semitone each, the triad is E diminished.\r\n\r\nIn the image below, B\u266d is the root of the chord. The key signature for B\u266d major has two flats, B\u266d and E\u266d. The fifth of the triad, F, has been raised one semitone to F\ud834\udd30, making this a B\u266d augmented triad.<\/a>\r\n\r\n[caption id=\"attachment_768\" align=\"aligncenter\" width=\"300\"]\"Figure Figure 22.5 Bb augmented triad. [Image description \u2013 See Appendix C Figure 22.5<\/a>][\/caption] \r\n
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Exercises<\/p>\r\n\r\n<\/header>\r\n

\r\n\r\n[h5p id=\"62\"]\r\n\r\n<\/div>\r\n<\/div>","rendered":"

Similar to intervals, triads have various qualities. There are four main qualities, starting with major. All of the other qualities can be analyzed and created by starting with a major triad.<\/p>\n

Minor Triad<\/h2>\n

As the major triad is based on the first (root), third, and fifth of the major scale, we can create the other qualities of triads by slightly altering the third or fifth of the triad. We cannot alter the root of the triad as that changes the note on which the triad is based.<\/p>\n

When lowering the third by one semitone, a major triad can become a minor triad.<\/a><\/p>\n

\"Figure
Figure 22.1 F major and F minor. [Image description \u2013 See Appendix C Figure 22.1<\/a>]<\/figcaption><\/figure>\n

It is also possible to create a minor triad by taking the first, third, and fifth notes of any of the minor scales.<\/a><\/p>\n

\"Figure
Figure 22.2 [Image description \u2013 See Appendix C Figure 22.2<\/a>]<\/figcaption><\/figure>\n

Diminished Triad<\/h2>\n

The next triad quality to be examined is diminished. This can be created by lowering both the third and fifth of a major triad by one semitone.<\/p>\n

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Example<\/p>\n<\/header>\n

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