5.3 Triads and their inversions
7 min read•august 20, 2024
Triads are the building blocks of harmony in Western music. These three-note chords consist of a , , and , stacked in thirds. They come in four main types: major, minor, diminished, and augmented, each with a unique sound and function.
Triads can be inverted by changing the bass note, altering their stability and voice leading possibilities. Understanding triads and their inversions is crucial for analyzing chord progressions, creating smooth bass lines, and composing effective harmonies in various musical styles.
Definition of triads
- Triads are the most basic type of chord in Western tonal music consisting of three notes stacked in thirds
- The three notes of a triad are called the root, third, and fifth which together form the foundation of harmony
- Triads can be built on any scale degree and the quality of the triad depends on the intervals between the notes
Root position triads
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- triads have the root note as the lowest pitch with the third and fifth stacked above
- In root position, the triad is in its most stable arrangement with the note in the bass
- The intervals in a root position triad are a third and a fifth above the bass note (root)
Inverted triads
- Inverted triads have either the third or the fifth as the lowest note instead of the root
- Inverting a triad changes the bass note and the intervals above it while preserving the core pitches
- Inverted triads are less stable than root position triads but provide more melodic and harmonic variety
Types of triads
- There are four main types of triads in tonal music each with a distinct sound and function
- The quality of a triad depends on the size of the intervals between the root, third, and fifth
- Different triad qualities can be used to create different moods and harmonic colors in a piece
Major triads
- Major triads consist of a major third and a perfect fifth above the root (C-E-G)
- The major third gives the triad a bright, happy, and stable sound suitable for resolution
- Major triads are found on the I, IV, and V in major keys
Minor triads
- Minor triads consist of a minor third and a perfect fifth above the root (C-Eb-G)
- The minor third gives the triad a darker, sadder, and more unstable sound compared to major
- Minor triads are found on the ii, iii, and vi scale degrees in major keys
Diminished triads
- Diminished triads consist of a minor third and a diminished fifth above the root (C-Eb-Gb)
- The diminished fifth is a dissonant interval that gives the triad a tense, unresolved sound
- Diminished triads have a strong tendency to resolve to a more stable chord and are found on the vii° in major and minor keys
Augmented triads
- Augmented triads consist of a major third and an augmented fifth above the root (C-E-G#)
- The augmented fifth is a dissonant interval that gives the triad an ambiguous, unstable sound
- Augmented triads are symmetrical and can function as altered chords or to modulate to a distant key
Triad inversions
- Triads can be inverted by moving the lowest note up an octave resulting in a different bass note and intervallic arrangement
- Inversions are labeled by the scale degree of the bass note and change the harmonic function and voice leading of the triad
- Composers use inversions to create smoother bass lines, avoid parallel fifths and octaves, and add variety to chord progressions
Root position
- In root position (5/3), the root is the bass note with the third and fifth stacked above
- Root position triads are the most stable and conclusive sounding especially when the root is doubled
- Root position is commonly used for cadences, phrase endings, and strong harmonic arrivals
First inversion
- In (6/3), the third is the bass note with the root and fifth above
- First inversion triads have a lighter, less final sound than root position and are useful for connecting chords in stepwise motion
- The intervals above the bass in first inversion are a third and a sixth
Second inversion
- In (6/4), the fifth is the bass note with the root and third above
- Second inversion triads are the least stable with a fourth above the bass that wants to resolve down by step
- The intervals above the bass in second inversion are a fourth and a sixth
- Second inversion is often used as a passing or cadential 6/4 chord to embellish and lead to a stronger root position chord
Figured bass notation
- Figured bass is a shorthand notation used in the Baroque era to indicate chord inversions and intervals above the bass
- Numbers are written below the bass note to show the size of the intervals stacked above (not counting the bass)
- Accidentals can be used to raise or lower certain intervals and further specify the chord quality
Intervals above the bass
- The most common figured bass symbols are:
- 5/3 - root position triad (third and fifth above the bass)
- 6/3 - first inversion triad (third and sixth above the bass)
- 6/4 - second inversion triad (fourth and sixth above the bass)
- Other intervals can be indicated like 7 for a seventh chord, 4-3 for a suspension, or 6/5 for a cadential 6/4 chord
Shorthand notation
- Figured bass symbols can be abbreviated for quicker reading and writing
- Root position triads are often left unmarked since they are the most common
- First inversion triads can be reduced to just 6 and second inversion to just 4 or 2
- Dashes are used to extend a figure across multiple bass notes and 0 indicates a diminished interval
Identifying triads
- Being able to quickly identify and label triads is an essential skill for analyzing and performing tonal music
- Triads can be identified by the scale degree of their root, their quality (major, minor, diminished, augmented), and their inversion
- Multiple ways of naming the same triad enrich our understanding of its musical context and function
By root note
- Triads are named after the scale degree on which they are built (tonic, supertonic, mediant, etc.)
- In major keys, the I, IV and V are major triads, the ii, iii, and vi are minor, and the vii° is diminished
- In minor keys, the i and iv are minor, the III, V and VI are major, the ii° and vii° are diminished
By quality
- The quality of a triad depends on the intervals between the root, third, and fifth
- Major triads have a major third and perfect fifth, minor triads have a minor third and perfect fifth
- Diminished triads have a minor third and diminished fifth, augmented triads have a major third and augmented fifth
By inversion
- Labeling triads by inversion specifies which note is in the bass and how the upper voices are arranged
- Inversions can be identified by the intervals they form above the bass (5/3, 6/3, 6/4) or their figured bass symbols
- Hearing and labeling inversions is important for understanding how triads are used in chord progressions and voice leading
Triad progressions
- Triads are rarely used in isolation but rather in succession to create harmonic progressions
- Common triad progressions in major and minor keys follow patterns of root movement by fourth, fifth, third or step
- Chords within a progression are labeled with Roman numerals to show their scale degree function
Common progressions
- I-IV-V-I (authentic cadence) and I-V-I (half cadence) are common progressions that establish the tonic key
- ii-V-I (turnaround) and I-vi-ii-V () are used to extend phrases and create forward momentum
- I-iii-IV-I and I-vi-IV-V (plagal cadence) are common in popular music for their simple, consonant sound
Voice leading considerations
- Triad progressions should be connected with smooth, efficient voice leading between the upper notes
- Common tones between chords should be held in the same voice while other voices move to the nearest chord tone
- Parallel fifths and octaves between outer voices should be avoided by using contrary or oblique motion
- Chords in first or second inversion are useful for creating stepwise bass lines and smoother voice leading
Triads in musical context
- Beyond their basic structure and function, triads take on expressive meaning based on how they are used in real music
- The same triad can sound and function differently depending on its melodic, harmonic, rhythmic, and timbral context
- Comparing the use of triads vs more complex chords like seventh chords reveals different musical styles and textures
Triads in melody
- Triads can be used melodically as broken chords or arpeggios to outline the harmony
- Triad tones are often used as embellishing tones (passing tones, neighbor tones, suspensions) to decorate a melody
- The top note of the triad is often prominent as the melody note, especially when it is the third or seventh of the chord
Triads in harmony
- Triads form the basic building blocks of harmony in homophonic and polyphonic textures
- Chord progressions, cadences, and modulations are created by combining triads in a particular key
- The same triad can function differently based on its position in the phrase and relationship to other chords (tonic, , pre-dominant)
Triads vs seventh chords
- Triads are more stable, consonant and simple sounding compared to seventh chords which add an extra note and more dissonance
- Seventh chords (both diatonic and secondary dominants) became increasingly common in the Romantic era for their richer, more complex sound
- Jazz and other modern styles use extended tertian harmonies beyond triads and seventh chords (9th, 11th, 13th)
- Understanding how triads work is the foundation for learning more advanced harmonies and chord progressions
Key Terms to Review (24)
Augmented triad: An augmented triad is a type of chord that consists of a root note, a major third, and an augmented fifth. This unique combination creates a bright, dissonant sound that often conveys tension and anticipation. Augmented triads can serve as pivotal harmonic elements in musical progressions, and their distinctive structure allows them to function in various contexts, such as modulations and voice leading.
C Major: C Major is a musical key that consists of the notes C, D, E, F, G, A, and B. This key is known for its bright and clear sound, as it contains no sharps or flats in its scale. Understanding C Major is essential because it serves as a fundamental reference point for triads, seventh chords, chord quality identification, chord progressions, and inversions.
Circle of Fifths: The Circle of Fifths is a visual representation of the relationships between the twelve tones of the chromatic scale, their corresponding key signatures, and the associated major and minor scales. This tool helps musicians understand how keys relate to one another, facilitates modulation between keys, and supports the construction and analysis of harmonic progressions and triads.
Contrary Motion: Contrary motion refers to the musical movement where two or more melodic lines move in opposite directions, creating a sense of contrast and independence between the voices. This technique is essential for developing harmonic texture and is commonly used when working with triads and diatonic harmony to enrich the overall sound and structure of the music.
Diminished triad: A diminished triad is a three-note chord consisting of a root, a minor third, and a diminished fifth. This chord has a tense and unstable sound, often used to create tension or lead into a resolution. It is an important aspect of harmony and is frequently encountered in various musical contexts, functioning as a building block for seventh chords and often found in harmonic dictation exercises and discussions about chord inversions.
Dominant: In music, the term dominant refers to the fifth scale degree of a diatonic scale, and it plays a crucial role in establishing harmonic tension and resolution within musical compositions. The dominant chord is built on this fifth degree, creating a strong pull back to the tonic, which is the first degree of the scale. This relationship is essential in understanding chord progressions, harmonic dictation, and overall tonal structure.
E minor: E minor is a minor scale based on the note E, consisting of the pitches E, F\# (or Gb), G, A, B, C, and D. This scale has a somber and introspective character, often used in various musical genres to evoke emotion. In the context of triads and their inversions, E minor functions as a tonic chord, creating a foundational element for harmony and progression.
Fifth: A fifth is an interval that spans five diatonic scale degrees, often considered one of the most consonant and stable intervals in music. In Western music, the fifth can be classified as either a perfect fifth or an augmented fifth, with the perfect fifth being the most common and foundational interval used in harmony. This interval plays a crucial role in the construction of chords, particularly triads and seventh chords, where it contributes to their overall sound and quality.
First Inversion: First inversion is a musical term that describes the rearrangement of the notes in a chord so that the lowest note is the third of the chord rather than the root. This inversion alters the chord's sound and function within harmonic progressions, providing a distinct quality that enhances musical expression. It applies to both triads and seventh chords, influencing how these chords are voiced and perceived in various musical contexts.
Functional Harmony: Functional harmony refers to the system of chords and their relationships that create a sense of movement and resolution within a piece of music. This concept emphasizes how different chords serve specific roles in relation to the tonic, dominant, and subdominant, guiding the listener through a musical narrative. It is essential in understanding chord progressions, the use of triads and seventh chords, and how these elements work together in harmonic dictation and accompaniment.
G7: The term g7 refers to a specific type of seventh chord, known as a G dominant seventh chord. It is built on the root note G and consists of the notes G, B, D, and F. This chord is crucial in harmony and is often used to create tension that resolves to a C major chord. Understanding g7 helps in grasping how seventh chords function in music theory and their role in establishing chord progressions.
Ii-v-i progression: The ii-v-i progression is a common chord sequence in tonal music, where the ii chord (supertonic) resolves to the v chord (dominant) and finally to the i chord (tonic). This progression creates a strong sense of movement and resolution, often used in various styles, particularly in jazz and classical music. Understanding this progression is crucial for identifying chord qualities, working with extended and altered chords, analyzing seventh chords and their inversions, and recognizing triads and their inversions.
Major triad: A major triad is a three-note chord formed by stacking a major third on top of a root note and a perfect fifth above the root. This chord is built from the first, third, and fifth degrees of a major scale, giving it a bright and stable sound. The major triad is fundamental in harmony and plays a crucial role in various musical contexts, including chord progressions, harmonic dictation, and inversions.
Minor triad: A minor triad is a three-note chord consisting of a root, a minor third, and a perfect fifth. This chord creates a darker and more somber sound compared to its major counterpart. In musical contexts, the minor triad serves as a foundational building block for harmony, contributing to the emotional depth of compositions and playing a significant role in harmonic progressions.
Parallel motion: Parallel motion refers to the movement of two or more voices or parts in the same direction by the same interval. This concept is crucial for understanding how melodies and harmonies interact, especially in the context of chords and harmonic progressions. By examining how voices move in parallel, you can gain insights into voice leading, texture, and the overall structure of musical compositions.
Roman Numeral Analysis: Roman numeral analysis is a system of labeling chords in a piece of music using Roman numerals to indicate their function within a key. This method provides insight into harmonic relationships and helps musicians understand the structure and progression of chords, particularly in terms of triads and their inversions as well as overall harmonic movement.
Root: The root of a chord is the fundamental note upon which the chord is built, serving as the base for identifying the chord's quality and function. It is the lowest pitch in a chord when it is in root position and serves as a reference point for understanding chord structure and relationships within harmony. In both triads and seventh chords, recognizing the root is crucial for determining inversions and voice leading.
Root position: Root position refers to the arrangement of a chord where the root note is the lowest in pitch. In this arrangement, the other notes of the chord are stacked above the root in ascending order, which gives the chord its most stable and consonant sound. Root position plays a critical role in identifying triads and seventh chords, as well as understanding chord qualities and inversions.
Scale Degrees: Scale degrees refer to the individual notes within a scale, numbered according to their position relative to the tonic, or the first note of the scale. Each scale degree plays a specific role in establishing the scale's overall sound and function, influencing harmony, melody, and musical structure. Understanding scale degrees is essential for recognizing patterns in music and aids in various areas such as composition and improvisation.
Second Inversion: Second inversion is a type of triad or seventh chord where the fifth of the chord is the lowest note, meaning that the root and third of the chord are stacked above it. This inversion is crucial for understanding how chords can be rearranged and voiced in various musical contexts, allowing for smoother bass lines and voice leading. Recognizing second inversion helps musicians understand harmonic progressions and enhances their ability to create varied textures in their music.
Subdominant: The subdominant is the fourth scale degree in a diatonic scale and serves as an important harmonic function, typically providing a sense of movement away from the tonic while creating tension that leads back to it. This term is crucial in understanding chord relationships and progressions, as the subdominant chord plays a significant role in shaping the musical landscape by preparing for the dominant and returning to the tonic.
Third: A third is an interval that spans three diatonic scale degrees and is crucial in music for creating harmony and defining chord structures. It can be classified as a major or minor third, with the distinction made based on the number of half steps between the notes. This interval plays a vital role in forming triads and seventh chords, influencing their quality and inversions.
Tonic: The tonic is the first note of a scale and serves as the home base or central pitch around which the other notes in the scale revolve. It establishes the tonal center, providing a sense of resolution and stability in music, and is crucial for understanding scales, harmonies, and chord progressions.
Triadic harmony: Triadic harmony refers to the use of triads, which are chords consisting of three specific notes, to create a foundation for musical composition and progression. It serves as a fundamental building block in Western music, enabling composers to convey emotion and structure through the interplay of these chords. Triadic harmony also involves understanding the relationships between different chords, including their inversions, which can create varied textures and harmonic movement within a piece.