1 Major and minor triads - DANIEL NISTICO · 1 Major and Minor Triads Triads are one of the most...
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Harmony I: Major and Minor Triads
Transcript of 1 Major and minor triads - DANIEL NISTICO · 1 Major and Minor Triads Triads are one of the most...
Harmony
I: Major and Minor Triads
�1
Major and Minor Triads
Triads are one of the most fundamental building blocks of Western music. Virtually any piece composed between 1600 to the present day (excepting 12 tone serial music) will display a strong preponderance and reliance on triads. Having a solid understanding and fluency of triads is the equivalent of understanding how grammar and vocabulary function in language. The better your knowledge and fluency, the better you become at reading, writing, speaking and understanding the language.
Triad = Three - A triad is simply when three different notes are stacked in thirds: • C-E-G for example is a C Major triad.
Interval Structure - The interval structure tells us what kind of triad it is. The only difference between a major and minor triad is the interval produced from the tonic to the third (i.e. the first two notes of the triad in root position).
• Major third = major triad C-E-G or 1-3-5 (C-D-E-F-G-A-B-C) • Minor third = minor triad C-Eb-G or 1-b3-5 (C-D-Eb-F-G-Ab-B-C)
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If you look through the triads in Fundamental Harmony, then every single triad that's circled above is in that book.
So it might seem counter-intuitive at first, but if you spend a lot of time learning triads, you can actually save a lot of time when it comes to learning pieces.
Some key points to remember about triads:
Triad = Three- A triad is simply when three different notes are stacked in thirds: C-E-G for example is a C Major triad.
Interval Structure- The interval structure tells us what kind of triad it is. The only difference between a major and minor triad is the interval produced from the tonic to the third (i.e. the first two notes of the triad in root position).
- Major third = major triad C-E-G or 1-3-5 (C-D-E-F-G-A-B-C)- Minor third = minor triad C-Eb-G or 1-b3-5 (C-D-Eb-F-G-Ab-B-C)
Which triads in Rung’s Choral are major triads? Which are minor triads?
C Major with doubled tonic (C) C Major with doubled tonic and fifth (C and G)
C Major with tripled tonic and doubled fifth (C and G)
Doubling- You can double (or triple, or quadruple, etc.) any of those three notes and that wouldn't change the chord's label (C-E-G-C is still C Major)
Which triads in Rung’s Choral have doubled notes?
3rd 3rd
Major Triad Minor Triad
1 3 5 53rd
Major 3rd: C - E Minor 3rd: C - Eb
3rd
Doubling - You can double (or triple, or quadruple, etc.) any of those three notes and that wouldn't change the chord's label (C-E-G-C is still C Major)
Inversions and Figured Bass - By changing the order of those notes, you get inversions of the triad
a) C-E-G = root position b) E-G-C = first inversion c) G-E-C = second inversion
Figured bass: numbers that represent the intervals above the bass note.
a) 5/3 = root position b) 6/3 (or just ‘6’) = first inversion c) 6/4 = second inversion
�3
Spacing - Triads can be stacked (i.e. notes can be distributed) in a variety of ways, but two are commonly seen in music: closed and open.
Other types of triads In addition to major and minor triads, there are also diminished and augmented ones. The quality of the third above the root note determines if the triad is major or minor. But with augmented and diminished triads, the quality of the fifth above the root is the main factor.
Diminished triad = 1 b3 b5 (C - Eb - Gb): or minor triad with diminished 5th Augmented triad = 1 3 #5 (C - E - G#): or major triad with augmented 5th
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3
Diminished Triad Augmented Triad
m3 d5 M3 A5
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Task 1
Practice these major and minor triads. Say the inversion as you play each
one.
�5
C Major
“A pure, certain and decisive manner, full of innocence, earnestness, deepest religious feeling.”
“Completely pure. Its character is innocence, simplicity, naïvety and children's talk.”
“State of nature, virginal chastity and purity, lovely innocence of youth.”
L’Innocence - William-Adolphe Bouguereau (1825-1905)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
Harmonized Scale (Rule of the Octave)
III
6
43
1
0
00 0
201 3
III4
4
23
4312
3
4
21
VIII23
3
VIII2
3
3 4213
VII4
2 43
12
III4
2
4102
100
0 0
01
3
0
21
0
4
1
2
0 0123 2
100 0
0
12
4312
3
412
V3
3
V
3
3
4
2
31
4321
3
421
00
01
0123
4
1
2
0 01
0
2
III
6
23
4
4132
II
0002
40
21 4
12
3 4301
3
124
III3
23
III3
23
213
42
2310
3
41
2 3
001
41
23
0002
0
002
3
1
2
0 2
0
10 4
3
21 1
0
34
0013 3
1
40 0
002
0002
4301
0231
4321
0132
0012
3
210 0
0
0
2
2
1
A Minor
”Pious womanhood and tenderness of character”
“Expressive of tender, womanly feeling. Most effective for exhibiting the quiet melancholy sentiment of Northern nations. A minor also expresses sentiments of devotion mingled with pious resignation.”
The Mourning Virgin - Hans Memling (c. 1433-194)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
Harmonized Scale (Rule of the Octave)
III
6
43
1
0
00 0
201 3
III4
4
23
4312
3
4
21
VIII23
3
VIII2
3
3 4213
VII4
2 43
12
III4
2
4102
100
0 0
01
3
0
21
0
4
1
2
0 0123 2
100 0
0
12
4312
3
412
V3
3
V
3
3
4
2
31
4321
3
421
00
01
0123
4
1
2
0 01
0
2
III
6
23
4
4132
II
0002
40
21 4
12
3 4301
3
124
III3
23
III3
23
213
42
2310
3
41
2 3
001
41
23
0002
0
002
3
1
2
0 2
0
10 4
3
21 1
0
34
0013 3
1
40 0
002
0002
4301
0231
4321
0132
0012
3
210 0
0
0
2
2
3
C Major
A Minor
�6
G Major
”Everything rustic, moderately idyllic and lyrical, each quiet and satisfied passion, each tender recompense for sincere friendship and true love; in a word, each gentle and serene motion of the heart can be expressed splendidly in this key.”
“Favourite key of youth, expresses sincerity of faith, quiet love, calm meditation, simple grace, pastoral life and a certain humour and brightness.”
The rustic dinner - Samuel Palmer (1805-1881)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
Harmonized Scale (Rule of the Octave)
III
6
43
1
0
00 0
201 3
III4
4
23
4312
3
4
21
VIII23
3
VIII2
3
3 4213
VII4
2 43
12
III4
2
4102
100
0 0
01
3
0
21
0
4
1
2
0 0123 2
100 0
0
12
4312
3
412
V3
3
V
3
3
4
2
31
4321
3
421
00
01
0123
4
1
2
0 01
0
2
III
6
23
4
4132
II
0002
40
21 4
12
3 4301
3
124
III3
23
III3
23
213
42
2310
3
41
2 3
001
41
23
0002
0
002
3
1
2
0 2
0
10 4
3
21 1
0
34
0013 3
1
40 0
002
0002
4301
0231
4321
0132
0012
3
210 0
0
0
2
2
5
E Minor
“Effeminate, amorous, grief, mournfulness, restlessness”
“Grief, mournfulness and restlessness of spirit.”
“Full of passion, painful palpitation and impetuousness. Contemplative character, autumn. Falling leaf and the bare-coming branches.”
Amorous Couple in a Landscape - Peter Lely
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
Harmonized Scale (Rule of the Octave)
III
6
43
1
0
00 0
201 3
III4
4
23
4312
3
4
21
VIII23
3
VIII2
3
3 4213
VII4
2 43
12
III4
2
4102
100
0 0
01
3
0
21
0
4
1
2
0 0123 2
100 0
0
12
4312
3
412
V3
3
V
3
3
4
2
31
4321
3
421
00
01
0123
4
1
2
0 01
0
2
III
6
23
4
4132
II
0002
40
21 4
12
3 4301
3
124
III3
23
III3
23
213
42
2310
3
41
2 3
001
41
23
0002
0
002
3
1
2
0 2
0
10 4
3
21 1
0
34
0013 3
1
40 0
002
0002
4301
0231
4321
0132
0012
3
210 0
0
0
2
2
7
G Major
E Minor
�7
D Major
“The key of triumph, of Hallelujahs, of war-cries, of triumphant rejoicing. Thus inviting symphonies, marches, festive songs and heaven-rejoicing choruses”
“Majesty, grandeur, and pomp, and adapts itself well to triumphal processions, festival marches and pieces in which stateliness is the prevailing feature.”
Triumph of the name of Jesus - Giovanni Battista Gaulli (1639-1709)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
4
3
0
1II4
2
42
IX
23
2
34
V4
3V
23
43
21
32
41
X623
X62
3
13
4 4
21
4
2
4
312
II422310
II 6
23
4 123
1230
3
II 2
4 23
4312
3
412
VII3
3
VII
3
3
43
21
234
1
3
421
II4 2
130
2 4
II 6
123
23
430
0 4132
II4
3 3400 0
0
21
4
13
23
4
21
V323
V32
3
4213
IV4
2
42
0010
II4
43
41
23
4
23
0
II6
4
2
3 II3
30
43
21 2
1
43
4
13
23 412
II33
II33
V44
2 4231
4321
4
3
2
1
II3
30
4
II6
2
3
1
3
3
9
B Minor
“B minor, is, as it were, the key of patience, of the silent expectation of fate, and of the submission to the divine decree. Therefore, its complaint is so gentle, without ever breaking out in offending murmurs or whimpers.”
“Very melancholy, tells of a quiet expectation and patient hope. It has been observed that nervous persons will sooner be affected by that key than by any other”
Malinconia - Francesco Hayez
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
4
3
0
1II4
2
42
IX
23
2
34
V4
3V
23
43
21
32
41
X623
X62
3
13
4 4
21
4
2
4
312
II422310
II 6
23
4 123
1230
3
II 2
4 23
4312
3
412
VII3
3
VII
3
3
43
21
234
1
3
421
II4 2
130
2 4
II 6
123
23
430
0 4132
II4
3 3400 0
0
21
4
13
23
4
21
V323
V32
3
4213
IV4
2
42
0010
II4
43
41
23
4
23
0
II6
4
2
3 II3
30
43
21 2
1
43
4
13
23 412
II33
II33
V44
2 4231
4321
4
3
2
1
II3
30
4
II6
2
3
1
3
3
11
A Major
E Minor
�8
A Major
“This key includes declarations of innocent love, satisfaction with one's state of affairs, hope of seeing one's beloved again when parting, youthful cheerfulness and trust in God.”
“Full of confidence and hope, radiant with love and redolent of simple genuine cheerfulness, excels all the other keys in portraying sincerity of feeling. Almost every composer of note has breathed his sincerest and sweetest thoughts in that favourite key.”
Idleness - John William Godward (1861-1922)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
4
3
0
1II4
2
42
IX
23
2
34
V4
3V
23
43
21
32
41
X623
X62
3
13
4 4
21
4
2
4
312
II422310
II 6
23
4 123
1230
3
II 2
4 23
4312
3
412
VII3
3
VII
3
3
43
21
234
1
3
421
II4 2
130
2 4
II 6
123
23
430
0 4132
II4
3 3400 0
0
21
4
13
23
4
21
V323
V32
3
4213
IV4
2
42
0010
II4
43
41
23
4
23
0
II6
4
2
3 II3
30
43
21 2
1
43
4
13
23 412
II33
II33
V44
2 4231
4321
4
3
2
1
II3
30
4
II6
2
3
1
3
3
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
31
0
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
130
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
13
F# Minor
“F-sharp minor, a gloomy key. It pulls at passion as the biting dog at one's pants leg. Anger and discontent are its language. Ordinarily, it does not seem to be well in its position; therefore, it always languishes for the repose of A major or for the conquering bliss of D major.”
“Dark, mysterious and spectral key. Full of passion.”
The limpid water. Gloomy Day. Crimea - Arkhip Kuindzhi (1842-1910)
Chords and Rotations
423 3
20 2
01 001 3
41
VIII
23
423
VIII
23
341
0
01 2
01 3
20 2
43
421 2
II
4
231 310
V
3
231 3
21
231
V
3
013 231 2
II
4
421
120 100 000 3
21 2
III
3
43
2 431 4
3
2 2
III
3
213 00
0 001 12
0
312 210 020 0
0
0 231 3
21 4
23
321
231 0
0
0 020 210 312
001 3
42 413 132 2
II
3
43
1 2
31 4
31 2
II
3
132 413 342 00
1
120 2
4
1 210 432 421
VII
3
241
VII
3
421 432 210 1
24
120
431 3
II
4
123 2
V
3
342 4
31 3
42
2
V
3
123II
4
3 431
423 132 3
II
3
231 3
21 4
23
321
231
II
3
3 132 423
40
0
21
3
030
214
4
01
134
4
01
214
003
21
3
40
0
032
021
3
02
3
V3
4
31 4
X4
4
31
3V3
3
02
021
032
02
0
103
04
0
134
214
XII
4
h4
214
134
04
0
103
020
010
3
02
010
204
14
0
134
14
0
204
010
302
10
0
0
2
1
032
0II
3
12
4
VII
4
4
34
1 VII
4
4
12
4
0
II3
032
02
1
100
231
001
VII
33
314
XII
4h4
314
VII
3
3
001
231
100
012
3
01
21
3
431
14
2
431
1
3
2
0
31
012
3II6
041
3
II
3
14
3
VII
44
431 VII
44
14
3
II
3
3
041
3II6
4
4
3
0
1II4
2
42
IX
23
2
34
V4
3V
23
43
21
32
41
X623
X62
3
13
4 4
21
4
2
4
312
II422310
II 6
23
4 123
1230
3
II 2
4 23
4312
3
412
VII3
3
VII
3
3
43
21
234
1
3
421
II4 2
130
2 4
II 6
123
23
430
0 4132
II4
3 3400 0
0
21
4
13
23
4
21
V323
V32
3
4213
IV4
2
42
0010
II4
43
41
23
4
23
0
II6
4
2
3 II3
30
43
21 2
1
43
4
13
23 412
II33
II33
V44
2 4231
4321
4
3
2
1
II3
30
4
II6
2
3
1
3
3
15
A Major
F# Minor
�9
E Major
“Loud shouts for joy, laughing pleasure, and still not altogether full gratification lies in E major.”
“The brightest and most powerful key, expresses joy, magnificence, splendour and the highest brilliancy.”
A Merry Party - Jan Steen (1625-1679)
3II
6
132 130 100 2
IV
3
43
1 213 4
3
1 2
IV
3
00
1 130 132 3
II
6
341 4
21 132 4
3
2 241
IX
3
241
IX
3
24
1 432 12
3 421 341
213 4
31 3
IV
4
321
VII
3
2 3
42
VII
12
3
321
IV
4
3 431 231
3I
6
1
02 3
4
1 132 2III
3
43
1 312 4
3
1 2
III
3
132 413
1
02 3
I
6
341 410 012 4
3
2 241
VIII
3
241
VIII
3
24
1 432 01
2 410 341
021 4
31 3
III
3
123 2
VI
3
42
32
VI
3
123
III
3
3 431 021
130 100 3
41 4
III
3
4
21 1
23 4
2
1III
3
4 341 100 1
30
2
021
3
01
10
2
140
214
4
IX
4
214
1
40
10
2
301
021
041
3
II
6
410
4
II
4
431
12
4
4431
4
II
4
4410
3II
6
041
20
1
34
1
2
10
IV
4
4
134
12
4
134 IV
4
4
2
10
34
1
20
1
21
3
140
14
3
1
2
4
VIII
4
4
1
2
4
1
4
3
140
213
3I6
240
4
I4
3
1
4
4
12
3
1
4
4
I4
240
3I6
01
3
134
III
3144
4
4
31
12
4
431 III
4
4
314
134
013
3
20
104
III
33
314
VIII
44
431 VIII
44
III
3143
3
104
3
20
5
0
0
13
4
231 1
3
42
43
21 0
431
0013 3
1
40 0
012
0
210
IV
443
0
31
2 4321
IV
6
32
II6
4
3 4132
1320
IV62
34
12
3
12
43 3
2 23
4
12
3 3
4
21
IX6
3
IX6
3
4
13
2
43
12
43
21
IV6 2 4
23
4 23
23
IV
6
43
4132
IV
4
33
4II 4
23
43
21
3
2
41
VII3
23
VII
3
32
4
12
3
VI42
34
12
II42 IV
443
4132
4321
VI6
43
III4
2 4
23
3
VI4
423
43
21 3
2
41
XI6
2
XI6
2
4213
X 2 43
21
VI4
2
4213
III4
2
42
4
17
C# Minor
“Laments or repentance, intimate conversations with God, the friend and the playmate of life, sighs of unsatisfied friendship and love lie in its circle.”
“So full of dignity and of inspiration. Serious and sad. Noble feeling, full of depth and energy.”
Jeremiah lamenting the destruction of Jerusalem - Rembrandt (1606-1669)
3II
6
132 130 100 2
IV
3
43
1 213 4
3
1 2
IV
3
00
1 130 132 3
II
6
341 4
21 132 4
3
2 241
IX
3
241
IX
3
24
1 432 12
3 421 341
213 4
31 3
IV
4
321
VII
3
2 3
42
VII
12
3
321
IV
4
3 431 231
3I
6
1
02 3
4
1 132 2III
3
43
1 312 4
3
1 2
III
3
132 413
1
02 3
I
6
341 410 012 4
3
2 241
VIII
3
241
VIII
3
24
1 432 01
2 410 341
021 4
31 3
III
3
123 2
VI
3
42
32
VI
3
123
III
3
3 431 021
130 100 3
41 4
III
3
4
21 1
23 4
2
1III
3
4 341 100 1
30
2
021
3
01
10
2
140
214
4
IX
4
214
1
40
10
2
301
021
041
3
II
6
410
4
II
4
431
12
4
4431
4
II
4
4410
3II
6
041
20
1
34
1
2
10
IV
4
4
134
12
4
134 IV
4
4
2
10
34
1
20
1
21
3
140
14
3
1
2
4
VIII
4
4
1
2
4
1
4
3
140
213
3I6
240
4
I4
3
1
4
4
12
3
1
4
4
I4
240
3I6
01
3
134
III
3144
4
4
31
12
4
431 III
4
4
314
134
013
3
20
104
III
33
314
VIII
44
431 VIII
44
III
3143
3
104
3
20
5
0
0
13
4
231 1
3
42
43
21 0
431
0013 3
1
40 0
012
0
210
IV
443
0
31
2 4321
IV
6
32
II6
4
3 4132
1320
IV62
34
12
3
12
43 3
2 23
4
12
3 3
4
21
IX6
3
IX6
3
4
13
2
43
12
43
21
IV6 2 4
23
4 23
23
IV
6
43
4132
IV
4
33
4II 4
23
43
21
3
2
41
VII3
23
VII
3
32
4
12
3
VI42
34
12
II42 IV
443
4132
4321
VI6
43
III4
2 4
23
3
VI4
423
43
21 3
2
41
XI6
2
XI6
2
4213
X 2 43
21
VI4
2
4213
III4
2
42
4
19
E Major
C# Minor
�10
F Major
“Full of peace and joy, but also expresses effectively a light, passing regret — a mournful, but not a deeply sorrowful feeling. Available for the expression of religious sentiment.”
“Clear and simple. Free from all bitterness and melancholy.”
On the Shores of the Sea - Hans Knöchi (1850-1927)
3III
6
423 241I2
2 3
42 3
41 33
42 2
I2
2241 423 3III
6
001 143 142 1
2
3 231 3
21 4
32 3
21
231 123 1
42 143 010
3
31
2
041
321
34
1
214
4
X4
214
34
1
321
041
132
1
20
430
1
02
III
4
4
134
214
134
III
4
4
1
02
430
120
6
III6
23
4 32
2
43 3
2 23
43
21 3
4 21
VIII3
3
VIII3
3 43
21
4321
42
3
1
III6
2 423
4 32
32
I6
4
3 4132
III
4
33 4I4
23
43
21
3
2
41
VI3
23
VI3
32
4
12
3
V42
24
3
41
2
III
443
4132
4
23
1
III
6
34
2
343 4
3
21 2
34
1 4301
34 1
2
III3
3
III3
3
4312
34
21
32
01
3
41
2 III
6
43
4
2
3 3
I6
23
4
31
24
1
23 3
4
10 1
320
4213 3
412
I323
I323
4
02
1 0
1
00
0
01
3 2
30
1 III
6
4
3 4
1
23
42
13
5
33
D Minor
“Expresses a subdued feeling of melancholy, grief, anxiety, and solemnity.”
“A pensive key full of nobility and refined feeling.”
Pensive - Wladysław Czachórski (1850-1927)
3III
6
423 241I2
2 3
42 3
41 33
42 2
I2
2241 423 3III
6
001 143 142 1
2
3 231 3
21 4
32 3
21
231 123 1
42 143 010
3
31
2
041
321
34
1
214
4
X4
214
34
1
321
041
132
1
20
430
1
02
III
4
4
134
214
134
III
4
4
1
02
430
120
6
V6
23
4 23
4
23 3
2 2
3
4
213 3
2
41
X6
X6
4
2
31
4
123
43
21
V6 2 3
4
2 4 23
23
6
35
F Major
D Minor
�11
Task 2
Practice these moveable major and minor triad shapes.
�125
Moveable triad shapesThere are some fundamental triad shapes that can be moved both horizontally and vertically on the fretboard. This means that you can learn hundreds of triads in a relatively short amount of time.
http://danielnistico.weebly.com/moveable-triad-shapes.html
�136
�14
Task 3
Identify the major and minor triads in the following examples. Write the
triads out as block chords.
�15
�16
�17
