This lesson will introduce the major scale and how chords are constructed using intervals. For instance, a C major chord consists of notes C, E and G stacked atop each other.
Chords stacked in thirds can be divided into several classes depending on their quality, which is determined by how many half steps separate each note – this process is called “voicing”.
Triads
When building a major scale, each note can act as the base for a three-note chord known as a triad. Triads may either be major or minor in sound depending on which third note has been added; their sound will reflect this choice of note quality.
What determines whether a triad sounds complete and resolved, bright and happy or melancholic are its expressive characteristics: this includes characteristics like completion and resolution as well as brightness or sadness or melancholia. Various qualities also characterize its expressive characteristics:
Altering a Major chord by adding or subtracting its third note transforms it to an Augmented Chord; similarly doing the same to a minor chord creates an Augmented Chord. We will go over each of these chord types individually.
Triad Inversions
Doubling or flatting the third can destabilize major chord voicings by making them sound flat, weakening their function and identity. As with doubling fifths, doubling them should also be avoided when possible.
For clarity, figured bass notation system provides an efficient means of depicting the lowest note in relation to its two neighbors in a chord triad. C major is an example that may be played using various positions; therefore knowing its bass note helps us identify which position it belongs in (root position, first inversion or second inversion).
Major Third
Major chords consist of three notes built upon the first, third and fifth scale degrees. By adding seventh scale degree it becomes dominant or major 7th chord.
Example of stacking thirds. Starting with G, add A and then B for a G major chord, using this strategy known as stacking thirds.
This method can also be extended to build chords containing more than three notes and is commonly known as the circle of fifths. Understanding this concept will equip you to construct various kinds of chords easily.
Minor Third
Once you understand how major chords work, it’s essential to learn about minor ones too. They are constructed similarly, but differ by having one note flattened out in the third interval – this makes one chord major while another becomes minor with unique sound qualities.
Major thirds and minor threes still use the same intervals (major thirds are four semitones apart while minor threes are half step), yet you get more dissonant and discordant sounds from them, creating tension-filled sounds which can convey emotion or tension through music.
Major Fifth
Third and fifth intervals can be structured or “voiced” in various ways to produce chords such as C major. For instance, it could consist of C-E-G or G-C-E notes within it depending on which order these notes appear in a chord – this determines its type.
Once you’ve mastered triads and major seventh chords, the next step should be adding additional notes into the mix to form diminished and augmented chords with darker sounds than their major cousins.
As you move through the Circle of Fifths it’s essential to remember that all notes within a scale are interrelated and that this knowledge can assist when transposing to new keys or improvising solo pieces.
Minor Fifth
As you progress around the circle of fifths by adding sharps and flats, your chords will begin to change as you add sharps and flats – instead of stacking major thirds, minor thirds will be added, creating diminished and augmented chords.
These chords provide a distinct contrast to the buoyant major chords used to express emotions through music. Morose and contemplative in nature, these chords create tension and anticipation while adding drama and intrigue in any piece. Also found in some modal and jazz compositions.